30 scripts written by us, free to practise 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.
The bread in Paris in the summer of 1788 was not merely expensive. It was inedible — black, dense, cut with chalk and clay by bakers who had run out of flour. A working family in the Faubourg Saint-Antoine spent eighty percent of their income on it. Eighty percent. On bread that made them sick. Marie Antoinette did not say "let them eat cake." But the reason that lie stuck, the reason it spread across Europe within weeks and has never quite died in three hundred years, is that it felt precisely true. You don't need a spark to start a fire when the whole city is already dry.
What it is for: A short history hook: a myth taken apart and put back together in under a minute. Watch out for: Hitting 'Eighty percent' twice the same way. The repeat is disbelief, so the second one is quieter. The last line is the thesis; keep it level. What casting listens for: Short history cuts are about attack. Casting decides on the first sentence.
The Mapmaker's Confession
Partition, South AsiaMature (55+)Neutral BritishOne narrator45 secondsabout 46s
By the time Cyril Radcliffe boarded his plane back to London, he had already burned his notes. He refused his fee. He never returned to India and he never spoke publicly about what he had done there — not once, in the thirty years he had left to live. He had drawn a border through a country he'd visited for five weeks, in a language he couldn't read, through villages he'd never seen. Fourteen million people were moving because of lines he'd made with a pen. He knew it. He went home, and he was quiet about it for the rest of his life, and I think that silence tells you everything the documents cannot.
What it is for: A historian's voice with an opinion. Trains the move from fact to 'I think'. Watch out for: Judging Radcliffe with your tone. The facts are the judgement. 'He knew it' is the turn, said quietly, and the 'I think' at the end should sound like the author, not a verdict. What casting listens for: Casting listens for an author-narrator who sounds as if they wrote it.
Fire Over Dresden
War, WWIIAdult (40-55)Neutral BritishOne narrator45 secondsabout 48s
The first wave hit at ten minutes past ten. By the time the second wave arrived two hours later, the fires from the first had grown large enough that the pilots could see Dresden from sixty miles away — a glow on the horizon like a second sunrise. Down in the cellars, survivors of the first raid were emerging into streets where the asphalt was on fire, where the thermal column rising from the burning city center was generating winds strong enough to pull people off their feet. A firestorm is not a fire. It is a self-sustaining weather event. It pulls in its own wind. It does not need you to feed it. Dresden burned for three days.
What it is for: Vivid, controlled description of a catastrophe. Watch out for: Getting breathless in the firestorm. The short explanatory lines ('A firestorm is not a fire') are short for a reason; slow down there. Say the last line plainly. What casting listens for: Casting listens for gravity without melodrama in war history.
Here's what Hannibal understood that the Romans did not: a larger army is only an advantage if it has room to use itself. He put his weakest troops in the center and let them bend. Bent deliberately, absorbing the Roman push, falling back in a controlled arc while his cavalry collapsed the flanks. By midday on August 2nd, 216 BC, seventy thousand Roman soldiers were surrounded on all sides, pressed so tightly together they could barely lift their weapons. They were not killed so much as suffocated by a geometry Hannibal had spent two years designing. Military academies still teach Cannae. They teach it because nobody, before or since, has done it better.
What it is for: Explainer history: make a battle plan clear to a listener who has no map. Watch out for: Losing the geometry. Stress 'center', 'bend' and 'flanks' so the listener can picture it. 'Here's what Hannibal understood' should sound like talking, not announcing. What casting listens for: Military history is a steady market. Casting wants clarity first and drama second.
Nicholas was told to wake his family and dress them warmly. He was told they were being moved for their safety, that White Army forces were approaching Yekaterinburg. He did not know, as he helped his son down the stairs at two in the morning, that the boy he was carrying would be dead within the hour. The family was brought to the basement. Chairs were carried in — Yurovsky said it was for a photograph. Then the squad entered. Alexandra had just enough time to make the sign of the cross. The detail that stays with me, after everything: Nicholas's last instinct, before he understood what was happening, was to step in front of his children.
What it is for: Building tension inside an ending everyone knows. Watch out for: Playing doom from the first line. Keep it procedural until 'Then the squad entered.' The last sentence is personal and quiet: 'The detail that stays with me'. What casting listens for: Casting listens for how you handle dramatic irony without leaning on it.
When the train pulled into the Finland Station on the night of April 3rd, 1917, nobody in the crowd quite knew what they were looking at. He was short. He wore a round hat. He had been in exile for seventeen years and he was forty-six years old and he walked out onto the platform and immediately began telling the people who had come to welcome him that everything they had done so far was wrong. No coalition government. No cooperation with the bourgeoisie. No waiting. The Mensheviks in the crowd thought he'd gone mad from the train ride. He hadn't. He had simply decided, years earlier, exactly what he was going to do when this moment came — and the moment had come.
What it is for: A character sketch in motion: a dramatic arrival told with a little wit. Watch out for: Rushing the three 'No' lines. They are his whole programme; give each a beat. The turn is 'He hadn't.' What casting listens for: Casting listens for dry humour inside serious history.
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Harriet
American history, abolitionAdult (40-55)Neutral AmericanOne narrator45 secondsabout 45s
She traveled at night, in winter, through swamp and forest, with a group that included a sick infant she had dosed with paregoric to keep from crying. She moved on the North Star when it was visible and on intuition when it wasn't. She had a gun. She used it once — not on a patroller, but pointed at a man in her group who wanted to turn back. "You'll be free or you'll die," she told him. He kept walking. She brought all of them through. Then she went back. This was her third trip. She would make about ten more. Not one person who traveled with Harriet Tubman was ever caught.
What it is for: Short action history. Fast and physical, with one quoted line. Watch out for: Playing the quote like a film line. It is reported speech, so keep it in the narrator's voice. The turn is 'Then she went back.' What casting listens for: Short cuts show whether you can set a scene in two sentences.
It is one in the afternoon on the 24th of August, 79 AD. The mountain has been shaking for four days, which is unusual but not alarming — Vesuvius shakes. A column of ash and gas is now rising from the summit, shaped, as Pliny the Younger would later write, like an umbrella pine. Most people in Pompeii are watching it. Some are packing. The fuller on the Via dell'Abbondanza has left a load of laundry still in the press. A dog is chained outside a bakery on the Via di Nola. The bread is in the oven. We know all of this because eighteen hours from now, all of it will be sealed under twenty feet of volcanic material, exactly as it is, in this ordinary afternoon that has no idea what it is.
What it is for: Present-tense history: the ordinary afternoon before the catastrophe. Watch out for: Foreshadowing too early. Read the laundry and the dog as ordinary. The turn is 'We know all of this because'. What casting listens for: Casting listens for restraint. The details do the work if you let them sound unimportant.
At 2:17 in the morning, the band stopped playing. This is the detail survivors mention more than almost any other — not the cold, not the screaming, but the moment the music stopped. For two hours and forty minutes they had played waltzes and hymns on a tilting deck in the North Atlantic in April, and then the angle became impossible and they stopped and each musician made whatever choice he made next. The bow was under. The stern rose until the ship was nearly vertical, and then the lights went out — all at once, not in sequence — and the sound that witnesses described from the lifeboats was unlike anything they had words for. Eight hundred yards away, in the water, fifteen hundred people were still alive.
What it is for: Sensory disaster narration built around one detail. Watch out for: Sentimentalising the band. The long middle sentence needs a breath plan before you start it. The final line is a number; say it plainly. What casting listens for: They listen for breath control and for a narrator who trusts silence.
Inside the Manhattan Project
War, scienceAdult (40-55)Neutral AmericanOne narrator45 secondsabout 49s
By the spring of 1945, Germany was finished, and everyone in Los Alamos knew it. The bomb had been built to stop Hitler. Hitler was dead. And yet the work continued — because stopping felt inconceivable, because the bureaucratic momentum of one hundred thirty thousand people and two billion dollars does not simply halt, and because several of the men involved had convinced themselves that what they were building was so terrible it would make war itself obsolete. Oppenheimer believed this. He would stop believing it approximately thirty seconds after Trinity. Leo Szilard circulated a petition asking Truman not to use it. Sixty-nine scientists signed it. It was classified and buried. The bomb was ready in July. There was a target list.
What it is for: Moral history: momentum and doubt in the same read. Watch out for: Editorialising on 'Hitler was dead.' Keep the facts clipped. The sentences shrink toward the end; follow them down rather than building up. What casting listens for: Casting listens for control of rhythm when the writing gets shorter and harder.
In the summer of 1981, a doctor in Los Angeles named Michael Gottlieb wrote a case report about five young men — previously healthy, all gay — who had developed a rare pneumonia that almost never appeared except in patients whose immune systems had already been destroyed by something else. He filed the report because he didn't know what he was looking at. The CDC published it on June 5th. By the time it was printed, two of the five men were dead. By the end of that year, 270 cases had been reported. By the end of the following year, it would be 1,600. The government would not hold a press conference about it for four more years. The president would not say the word publicly for six.
What it is for: Recent history told through rising numbers and quiet anger. Watch out for: Pushing each number louder as it rises. Keep them level; the anger lives in the last two sentences, underplayed. What casting listens for: Modern history needs care. Casting listens for respect for the people inside the statistics.
The Night the Wall Came Down
Cold War, GermanyAdult (40-55)Light GermanOne narrator1 minuteabout 59s
Günter Schabowski had not been in the meeting where the decision was made. He'd been given a note just before the press conference and told to announce it, and the note did not specify when the new travel regulations would take effect. So when a reporter asked him directly, Schabowski shuffled his papers and said — live on East German state television, on the evening of November 9th, 1989 — "immediately, without delay." He was wrong. The regulations weren't supposed to begin until the next morning. But the broadcast went out, and within hours ten thousand people were at the checkpoints, and the guards had no orders and no phones were being answered, and eventually a lieutenant colonel named Harald Jäger just made a decision and opened the gate. That's how it ended. A bureaucratic miscommunication and one man who didn't feel like starting a massacre tonight.
What it is for: A famous night retold as a comedy of errors with real stakes. Watch out for: Stumbling on the names. Practise Schabowski and Harald Jäger until they sit easily. The last line is dry, not jokey. What casting listens for: Casting listens for accurate names and a narrator who enjoys the irony without smirking.
Gold in the Pan
American WestAdult (40-55)Neutral AmericanOne narrator45 secondsabout 52s
The forty-niners have been romanticized so thoroughly that it takes some effort to see what the Gold Rush actually looked like from the ground. It looked like twenty-three-year-old men dying of cholera in tent camps. It looked like the California Native population — one hundred fifty thousand people in 1845 — reduced to thirty thousand by 1870 through massacre, forced labor, and introduced disease. It looked like a Chinese laborer working a claim that the law said he could not own, in a state whose highest court had ruled he could not testify against a white man. The gold was real. About five percent of the people who came for it found enough to matter. The other ninety-five percent built California anyway, because they had nothing left to go back to.
What it is for: Revisionist history: taking a romantic myth apart one sentence at a time. Watch out for: Saying 'It looked like' the same way three times. Each one gets darker. The turn is 'The gold was real.' What casting listens for: They listen for whether you can build a list without it turning into a chant.
Sitting Bull's Last Winter
American West, Indigenous historyMature (55+)Neutral AmericanOne narrator45 secondsabout 49s
He was shot by Indian police officers — men from his own people, employed by the agency — on the morning of December 15th, 1890, during an attempt to arrest him for allegedly supporting the Ghost Dance movement. He was fifty-nine. Two weeks later, at a creek called Wounded Knee, the 7th Cavalry killed between two hundred fifty and three hundred Lakota men, women, and children, most of them unarmed. Twenty soldiers received the Medal of Honor. They have never been rescinded. I don't tell you this to make you angry, though anger is a reasonable response. I tell you because a history that ends at the treaty and doesn't follow the treaty to its conclusion is not history. It's a press release.
What it is for: Hard history with a direct word to the listener at the end. Watch out for: Getting preachy at 'I don't tell you this to make you angry'. Say it gently. 'It's a press release' is flat and final. What casting listens for: Casting listens for an author-narrator who can be direct without scolding.
The Emperor's New Map
War, EuropeAdult (40-55)Neutral BritishOne narrator1 minuteabout 48s
Napoleon invaded Russia in June of 1812 with the largest army ever assembled on European soil — six hundred thousand men — and a set of maps that were, in several critical areas, badly out of date. Roads marked as passable were not. The distances were longer than anyone had planned for. He captured Moscow in September to find it empty and on fire — the Russians had burned it themselves rather than surrender it — and waited five weeks in the ruins for a peace offer that never came. When he finally retreated in October, winter had arrived early. Of the six hundred thousand men who crossed into Russia that June, fewer than one hundred thousand came back.
What it is for: Big numbers and a small closing detail: the classic popular-history rhythm. Watch out for: Blurring the numbers. Six hundred thousand and one hundred thousand have to be crystal clear. Slow down for the red ink; it is the payoff. What casting listens for: Casting listens for number clarity. A listener cannot flip back a page.
Every source we have on Wu Zetian was written by men who had professional and personal reasons to despise her. She had restructured the civil service in ways that cost the old aristocracy their inherited positions. She had executed rivals. She had, most unforgivably, ruled — openly, unapologetically, for fifteen years as the sole sovereign of the Tang dynasty in a Confucian society that held female rule to be a disorder of nature. So when the official histories describe her as a seductress, a murderer, a woman who killed her own infant daughter to frame a rival — you have to ask the question any good historian asks: who wrote this, and what did they need to be true? The answer shapes everything that follows.
What it is for: Historiography in miniature: questioning the sources. Intellectual and direct. Watch out for: Reading the accusations as if they were yours. They are the old historians' words, so put quotation marks around them with your voice. The turn is 'who wrote this, and what did they need to be true?' What casting listens for: Practise the name until it is confident (roughly 'woo zuh-tee-EN'). Casting hears hesitation instantly.
He had not wanted to go to Memphis. He was exhausted — those who were with him in those last months describe a man barely sleeping, preoccupied, carrying something they didn't have a name for. He gave his last sermon on the night of April 3rd, and it was extraordinary, the kind that made people weep who had heard him a hundred times before. He talked about longevity. He said he would like to live a long life. He said it didn't matter to him now. The next evening, at six-oh-one on the balcony of the Lorraine Motel, he was talking to a musician below about a song he wanted played at the rally. Those were, as far as anyone can reconstruct it, the last words he said.
What it is for: The last day of a famous life, told with restraint. Watch out for: Crying through it. The power is in the ordinary last conversation about a song. Hold steady to the end. What casting listens for: They listen for dignity in the narration of a well-known tragedy.
The Bones Under the Car Park
Archaeology, British historyAdult (40-55)Neutral BritishOne narrator1 minuteabout 56s
On the 25th of August, 2012, archaeologists excavating a car park in Leicester found a skeleton with severe scoliosis, an iron arrowhead lodged among the bones of its upper back, and a skull opened by the blows of bladed weapons. The University of Leicester press office drafted a cautious statement. Nobody wanted to say what everyone was thinking. The DNA results took six months. When they came back, they confirmed something that changed, in a very specific and British way, the relationship between the public and history — which is the discovery that history is not over, that it is still physically present, that the man whose reputation Shakespeare destroyed and whose body had been missing for five hundred and twenty-seven years was, in fact, under a parking space in the East Midlands. Richard the Third had been found.
What it is for: A modern discovery told with a British wink. Watch out for: Losing the thread of the very long second-to-last sentence. Plan the breaths before you start. 'Richard the Third had been found' is the button; land it simply. What casting listens for: British popular history loves a narrator with a twinkle. Casting wants it, but light.
When Islamist militants occupied Timbuktu in 2012, one of the first things the city's librarians did was start moving manuscripts. At night, in secret, they carried bundles of medieval documents — astronomy, mathematics, theology, medicine, some of them seven hundred years old — out of the Ahmed Baba Institute and into private homes, hiding them under beds and in grain sacks. When the militants eventually burned the library, most of what they burned were decoys. Approximately three hundred forty thousand manuscripts survived. Most of them are sitting, right now, in nondescript buildings in Bamako, hundreds of miles to the south, waiting for a stable enough future to be properly catalogued. Most of them have never been read by a Western scholar. We have almost no idea what is in them.
What it is for: A rescue story told as quiet suspense. Watch out for: Turning it into a thriller. The decoys line is the turn; let it land with a small satisfaction, then go quiet for the ending. What casting listens for: Casting listens for wonder in the last two sentences.
Elizabeth Cady Stanton died in 1902, eighteen years before the Nineteenth Amendment passed. Susan B. Anthony died in 1906. Sojourner Truth in 1883. Ida B. Wells lived until 1931, long enough to vote, though not long enough to see the Voting Rights Act that would, decades later, make the right she had fought for real for Black women in the South. What I keep returning to, writing this last chapter, is the particular kind of hope required to spend a lifetime fighting for something you are certain you will never live to see. Not optimism — optimism is easy, it's just a personality type. Hope, the deliberate kind, is a choice made in full knowledge of the odds. These women made it every day for seventy years. I think we owe them more than a paragraph in a textbook. I think we owe them the attempt to actually understand what that cost.
What it is for: A closing-chapter reflection in the author's own voice. Personal and earned. Watch out for: Getting grand. The optimism versus hope distinction is the heart of it; say it plainly, like a thought you are still working out. What casting listens for: End-of-book passages show whether you can be moving without pushing. Casting listens for sincerity.
The Great Stink
Victorian, public healthAdult (40-55)Neutral BritishOne narrator1 minuteabout 64s
In the summer of 1858, London stopped being able to ignore its river. The city's sewage had long flowed straight into the Thames. Then came a hot June. The water dropped, and the smell rose.
The newspapers called it the Great Stink. In the new Houses of Parliament, on the riverbank, the curtains were soaked in chloride of lime to keep it out. It did not work. Members who had spent years avoiding the cost of a sewer system found they could not bear to sit in the chamber.
Within weeks, the money was approved. The engineer Joseph Bazalgette built more than a thousand miles of sewers.
Parliament had acted to get rid of a smell. Most people believed disease travelled on bad air. It did not. Cholera was in the water. But the sewers took it out of the water anyway, and after a last outbreak in 1866, in a district not yet connected, London's cholera epidemics were over.
What it is for: Popular history with a comic edge and a serious payoff. A lighter read with a real twist. Watch out for: Playing the whole thing for laughs. The curtains are funny; the cholera is not. The turn is 'Cholera was in the water.' Say it flatly, then let the last sentence land as good news. What casting listens for: Casting listens for a narrator who can be witty and accurate at the same time.
On the fifteenth of January, 1919, it was unusually warm in Boston. A little after noon, in the North End, a steel tank fifty feet tall and full of molasses split open.
More than two million gallons came out at once. The wave was taller than a man, some said far taller, and it moved faster than a person could run. It knocked buildings off their foundations and bent the girders of the elevated railway. People and horses were caught in it, and the harder they struggled, the tighter it held them.
Twenty-one people died. Around a hundred and fifty were injured.
For decades afterward, residents said, on hot summer days, the neighborhood still smelled sweet.
What it is for: A strange true disaster at audition length. Practise playing an absurd premise completely straight. Watch out for: Letting the word 'molasses' make you smile. The listener will want to laugh; your job is to stop them. The turn is 'Twenty-one people died.' What casting listens for: Tone control is the whole test here. Casting listens for the moment you decide it is serious.
At quarter to nine on the morning of December the sixth, 1917, two ships collided in the narrows of Halifax Harbour. One was a Norwegian vessel, the Imo, heading out. The other was a French cargo ship, the Mont-Blanc, coming in. She was carrying nearly three thousand tonnes of explosives for the war in Europe.
The collision was slow, and the damage looked small. But it started a fire on the Mont-Blanc's deck, and her crew, who knew exactly what they were carrying, took to their lifeboats and rowed hard for the far shore.
Nobody else knew. People came down to the waterfront to watch the burning ship. Across the city, in houses and schools and offices, they came to the windows.
At about five past nine, the Mont-Blanc exploded. It was the largest explosion human beings had ever caused. Around two thousand people were killed and nine thousand injured, many of them by glass from the windows they had been watching through.
Down at the rail yard, a train dispatcher named Vince Coleman had been told to run. Instead, he went back to his telegraph key and sent a warning to stop an incoming passenger train. He was killed at his post.
The train stopped.
What it is for: A slow-fuse disaster narrative with a single act of courage at the end. Watch out for: Rushing the collision. It is slow and small on purpose. 'Nobody else knew' is the turn, and 'The train stopped' is three words that need nothing added. What casting listens for: Casting listens for pacing across a long build. Can you make twenty minutes of waiting feel like a held breath.
In the autumn of 1845, farmers across Ireland dug up their potatoes and found them black and rotting in the ground. A blight had crossed the Atlantic. It would come back, year after year, for most of the next decade.
For about a third of the population, the potato was not part of the diet. It was the diet. When it failed, there was nothing underneath.
Around a million people died, of hunger and of the diseases that follow it. At least a million more left, many on ships so crowded and fever-ridden that they became known as coffin ships.
And through all of it, Ireland went on exporting food. Grain, butter and livestock left Irish ports, some of it under armed guard, past people who could not afford to buy it.
Before the famine, Ireland had about eight and a half million people. The island as a whole has still not returned to that number.
What it is for: A national tragedy in one minute. Weight carried by facts, not by voice. Watch out for: Keening. An Irish accent on this material invites a lament; resist it. The turn is 'And through all of it', and the last line is a statistic that should sound like one. What casting listens for: Casting listens for an authentic accent used with restraint on material that is close to home.
The Boundary Stones
Plague, English villageAdult (30-45)Neutral BritishOne narrator90 secondsabout 83s
In the late summer of 1665, a parcel of cloth arrived from London at a tailor's house in the Derbyshire village of Eyam. It was damp, so the tailor's assistant, George Viccars, hung it by the fire to dry. Within days he was ill, and soon he was dead. The cloth, it seems, had carried fleas, and the fleas had carried the plague.
By the following spring, the dead were being counted in dozens. The village's young rector, William Mompesson, and the minister he had replaced, Thomas Stanley, made a proposal. If Eyam stayed where it was, the plague might stay with it. If people fled, they would carry it into every town for miles.
Eyam agreed to close itself. A boundary was marked out with stones. Neighbouring villages and the Earl of Devonshire left food and supplies at the edge, and were paid with coins left in holes filled with vinegar, which people hoped would make them clean. Church services moved outdoors, so the congregation could stand apart.
The plague burned through the village until the autumn of 1666. At least two hundred and sixty people died, among them Mompesson's wife, Catherine.
As far as anyone can tell, the plague went no further than the boundary stones.
What it is for: A quiet story of collective sacrifice. Long, even, and humane. Watch out for: Sentimentalising the villagers. They made a practical decision, and the details (vinegar, coins, outdoor services) are practical. The turn is 'Eyam agreed to close itself.' What casting listens for: Casting listens for warmth that stays factual. English local history is a steady niche with loyal listeners.
In 1405, a fleet sailed from China larger than any Europe had ever sent to sea. Well over two hundred ships, by the usual estimates, and nearly twenty-eight thousand men, under the command of a court official named Zheng He.
Over the next twenty-eight years, he led seven voyages. His fleets reached Java and Sri Lanka, Calicut on the coast of India, Hormuz at the mouth of the Persian Gulf, and the coast of East Africa as far as Malindi.
They carried silk and porcelain out, and brought back envoys, spices and, famously, a giraffe, which was presented at the Ming court as a qilin, a creature of good omen.
After Zheng He died, around 1433, the voyages stopped. The court turned its attention inward. Within a few decades, it would be European ships coming the other way.
What it is for: World history on a big canvas. Scale, place names and one delightful detail. Watch out for: Losing the listener in the place names. Give each port its own tiny landing. The giraffe is the smile; the last paragraph is the sting. What casting listens for: Casting listens for confident pronunciation (Zheng He is roughly 'jung huh') and a steady sense of scale.
It is a little after half past ten on the seventeenth of December, 1903, on the sand at Kill Devil Hills, North Carolina. The wind is cold and strong. A handful of people from the area have come out to watch, and one of them, John Daniels, has been put in charge of a camera he has never used.
Orville Wright lies flat on the lower wing. His brother Wilbur runs alongside, steadying it.
The machine lifts. It stays up for twelve seconds and covers about a hundred and twenty feet.
They fly three more times that morning. Then a gust flips the machine over and wrecks it. It never flies again. It does not need to.
What it is for: Present-tense history at audition length. Small, cold, specific, and quietly enormous. Watch out for: Hyping the take-off. 'The machine lifts' is three plain words. The last line is the point; give it a breath before it and nothing after. What casting listens for: Short cuts are about clarity of scene. Casting should know where you are, and how cold it is, by the second sentence.
At twenty-three minutes past one on the morning of the twenty-sixth of April, 1986, the operators of Reactor Number Four at the Chernobyl power station, in Soviet Ukraine, were running a safety test. It went wrong in seconds. A surge of power, then explosions, and the reactor lay open to the sky.
The town of Pripyat, about two miles away, was home to nearly fifty thousand people. It was not evacuated until the following afternoon. Residents were told to pack for three days. Most of them never went back.
The Soviet government told the outside world nothing. It was a nuclear plant in Sweden, more than six hundred miles away, that raised the alarm, when workers arriving for their shift set off its radiation monitors. Only then did Moscow issue a statement. A few lines, read out on the evening news.
What it is for: Modern disaster narration built on times, distances and silence. Watch out for: Going documentary-dramatic. Keep the technical sentence fast and plain. The turn is 'Most of them never went back.' The last line is a small, cold detail; underplay it. What casting listens for: Casting listens for control with numbers and a narrator who lets the facts be the drama.
In 1854, if you wanted to dig for gold on the Ballarat fields in the colony of Victoria, you needed a licence. It had to be paid for whether you found any gold or not, and most men did not. Police went out hunting for unlicensed diggers twice a week, and a man caught without his licence could be chained to a log until his case was heard.
The miners could not vote. They had no say in the laws that governed them.
That spring, their anger boiled over. At a mass meeting on Bakery Hill, they raised a new flag, a white cross and stars on a blue field, and burned their licences. Days later, some of them built a rough timber stockade on the Eureka lead.
Before dawn on Sunday the third of December, with most of its defenders gone home for the night, soldiers and police attacked. The fighting was over in around a quarter of an hour. More than twenty diggers and six soldiers died.
Thirteen men were tried for high treason. Melbourne juries acquitted every one of them. Within a year, the licence had been replaced by a cheap miner's right that came with the vote, and one of the stockade's leaders, Peter Lalor, was a member of the colony's parliament.
What it is for: A founding-story of Australian democracy. Grievance, battle, and a verdict that turned it all around. Watch out for: Making the fight the climax. The fighting takes one short paragraph; the real turn is 'Melbourne juries acquitted every one of them.' Build to that. What casting listens for: Australian narrators are in demand for local history. Casting listens for a natural accent, not an ocker one.
On the eighth of November, 1519, Hernán Cortés, a few hundred Spanish soldiers and thousands of their Indigenous allies walked along a causeway across the waters of Lake Texcoco, toward the capital of the Mexica, Tenochtitlan.
It was one of the largest cities in the world. Perhaps two hundred thousand people lived there, more than in any city in Spain. It rose from the lake on an island, joined to the shore by raised roads, with canals for streets, gardens on the water, an aqueduct carrying fresh water from the hills, and a market so large and orderly that it astonished the men who saw it.
One of those soldiers, Bernal Díaz del Castillo, wrote decades later that some of them wondered whether what they were seeing was a dream.
Less than two years later, after a siege and an epidemic of smallpox, the city lay in ruins. Mexico City was built on top of it.
What it is for: Wonder, then loss, in one minute. A narrator who lets the listener see the city before it falls. Watch out for: Racing through the description. The long sentence about the city is the heart; plan the breaths and enjoy it. The turn is 'Less than two years later.' What casting listens for: Practise Tenochtitlan and Texcoco until they are effortless. Casting hears a stumble on a name as a lack of preparation.
Reading alone only gets you so far
Members bring scripts like these to class every week and get feedback on the spot, from working coaches.
Use these freely. Every script here was written by VO Journey Academy.
Practise with them, record them, post them as demos, reels or social clips, and use them in auditions.
Please do not resell them or publish them as your own scripts. A credit is always welcome, never required.