30 original comic excerpts for narrators, from family chaos to travel disasters. Clean, and free to practice with, record and post.
Comic narration is timing. The narrator who sounds like they are trying to be funny never is. These excerpts are comic fiction and first-person comic essays about family, work, travel disasters, pets and small humiliations. All of it is clean. Each card has a coach's note on where the laugh is.
Mother Has Joined the Chat
Family comedy, the group chatAdult (25-40)Neutral AmericanOne narrator30 secondsabout 30s
My mother has discovered the family group chat. Yesterday she sent eleven messages. Nine were photographs of a casserole from slightly different angles. One said, "Who is this." One was a thumbs up, to herself.
This morning she sent a single word, "Bananas," and then nothing for four hours.
My brother thinks it was a grocery list. I think it was a cry for help. We have agreed that neither of us will ask.
What it is for: A deadpan list. Trains reading out evidence like a witness, and letting the audience find it funny before you do. Coach's note: Watch out for laughing at your own material. Stay grave. The turn is the single word "Bananas". Put a clean pause before it and after it. The last line is a solemn family pact. What casting listens for: Casting listens for dry timing and a narrator who plainly adores the mother she is reporting on.
Reply to All, Regrettably
Office comedy, the wrong emailAdult (30-45)Neutral AmericanOne narrator30 secondsabout 29s
I would like to explain what happened on Tuesday.
I meant to send one email, to one person, saying that the quarterly meeting could have been a postcard. I sent it to four hundred and twelve people. One of them invented the quarterly meeting.
He replied within a minute. He replied to all. He wrote, "Agreed. What size postcard?"
I have not slept. I do not know if I am fired or promoted.
What it is for: A formal apology that falls apart. Trains mock-official delivery and a last line of pure, quiet dread. Coach's note: Watch out for playing panic from the top. He begins like a man giving a statement to the press. The turn is "He replied to all." Read the boss's reply flat, because the horror is that it might be sincere. What casting listens for: Casting listens for control, a clean build through short sentences, and a button that is underplayed.
The Cat Would Like It Known
Pet comedy, the hungry catAnyNeutral BritishOne narrator30 secondsabout 32s
The cat would like it known that she has been fed only once today.
This is not true. She has been fed three times, by three different people, each of whom was told the same story with the same enormous eyes.
She is now sitting beside her bowl, looking at the wall, the picture of an animal abandoned by society. It is four in the afternoon.
She is going to try the lodger next. He is new, and soft.
What it is for: Mock-serious narration on behalf of a cat. Trains a nature-documentary straightness applied to something very small. Coach's note: Watch out for doing a cat voice. There is none. The narrator is her solicitor. The turn is "This is not true." Drop the pace for the last line, like a plan being drawn up. What casting listens for: Casting listens for crisp British understatement and a narrator who never once smiles audibly.
The Noise I Make Sitting Down
Middle age, new noisesAdult (40-55)Neutral AmericanOne narrator30 secondsabout 28s
At forty-six, I have started making a noise when I sit down. Nobody warned me. It is not a word. It is a sort of announcement, like a bus lowering itself to the curb. I make a different one getting up.
Last week I pulled a muscle sleeping. I was not running in my sleep. I was not dreaming of tennis. I was simply lying there, being forty-six, incorrectly.
What it is for: A comic essay opening about turning forty-six. Trains precise, rueful observation and three-beat phrasing. Coach's note: Watch out for doing the noise. Describe it, do not perform it. The turn is "Last week I pulled a muscle sleeping." The last word, "incorrectly", is the laugh, so place it on its own. What casting listens for: Casting listens for a warm, wry woman you would happily hear for six hours, with no complaint in the tone.
Chirp
Family comedy, the smoke alarmYoung adult (18-25)Neutral AmericanOne narrator45 secondsabout 44s
At three in the morning, something in our house went chirp.
Just once. Then forty seconds of silence, exactly long enough to fall back asleep. Then chirp.
My father came out onto the landing in his robe, carrying a broom like a man going to war. "Smoke alarm," he said. "Low battery."
We have six. He stood under each one in turn, staring up, waiting. None of them made a sound while he was looking at it. They can tell.
By four he had all six lined up on the kitchen table, batteries out, like suspects.
Chirp.
We looked at each other. Then, slowly, we looked at the carbon monoxide detector.
What it is for: A father against a household noise at three in the morning. Trains a repeated sound word and a slow final reveal. Coach's note: Watch out for varying the "chirp" too much. It is the same every time, flat and small, and that is why it is maddening. The turn is the last "Chirp." after the batteries are out. Slow right down on "slowly, we looked". What casting listens for: Casting listens for a fond son's-eye view of a determined dad, and timing on the one-word lines.
My husband does not read instructions. He considers them an opinion.
So when the bookcase arrived, flat, in a box the size of a door, he tipped the lot onto the lounge room floor and said, "It's a bookcase. How hard can it be?"
Three hours, it turns out. There were forty-one screws, a small bent tool, and a diagram of a smiling man who was not sweating.
At the end we stood back. It was upright. It held books. It was, I will admit, a bookcase.
"Told you," he said.
I held up my hand. In it were six screws, two wooden pegs, and a whole shelf.
"Spares," said my husband.
What it is for: A wife narrating her husband's war with a flat-pack bookcase. Trains an Australian read with affection under the eye-roll. Coach's note: Watch out for contempt. She likes him. The turn is the hand held up with the leftover parts. List them slowly, and save "and a whole shelf" for last. His one-word answer needs total confidence. What casting listens for: Casting listens for relaxed Australian delivery and a husband sketched in one line of dialogue.
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Arguing With Brenda
Travel disaster, the sat navAdult (25-40)Neutral BritishOne narrator45 secondsabout 46s
My father does not trust the sat nav. He calls her Brenda, and he argues with her.
"In two hundred yards, turn left."
"I shan't, Brenda. I've been driving to Leicester since before you were a microchip."
"Turn left."
"No."
"Recalculating."
"She's sulking now," he tells me, pleased.
We have been in the car three hours. Leicester is ninety minutes from our house. We have passed the same garden centre twice, from different directions, and my mother has stopped speaking altogether.
"At the roundabout," says Brenda, "take the fourth exit."
My father looks at the roundabout. It has three exits.
"Now she's just being spiteful," he says, and for once I think he's right.
What it is for: An English father at war with his sat nav. Trains three voices in a car: a stubborn dad, a calm machine, and the grown child in the back. Coach's note: Watch out for a robot voice for Brenda. Keep her pleasant and even, which is funnier. Dad is cheerful, not cross. The turn is "It has three exits." The last line is the narrator giving in. What casting listens for: Casting listens for brisk British comedy, clean switches between Dad and Brenda, and no shouting.
Annual Review: Waffles
Pet comedy, a dog's job reviewAdult (30-45)Neutral AmericanOne narrator45 secondsabout 44s
Annual review. Employee: Waffles. Position: dog.
Strengths. Waffles shows tremendous enthusiasm. He greets every visitor as though they have returned from the sea. He has never once been late for dinner.
Areas for improvement. Waffles was hired to guard the house. In March, a man came to read the meter, and Waffles showed him where we keep the spare key. He barks only at the vacuum, the toaster, and one particular cushion.
Goals for next year. Stop eating socks. Come when called, at least as a courtesy.
Overall rating. Exceeds expectations. I don't know how. I wrote "needs work," and he looked at me, and my hand just moved.
What it is for: A dog's performance review in office language. Trains reading headings as headings, and a formal document that melts at the end. Coach's note: Watch out for hurrying the section labels. "Strengths." "Goals for next year." Each is its own beat. The turn is "Overall rating. Exceeds expectations." Then drop the document voice completely for the confession. What casting listens for: Casting listens for corporate deadpan and the moment the real, soft-hearted owner shows through.
Taking Orders From a Scale
Comic essay, the self-checkoutMature (55+)Midwestern USOne narrator45 secondsabout 48s
I do not care for the self-checkout. I did not apply for a job at the grocery store, and yet there I am, working, for free, and doing it badly.
"Unexpected item in the bagging area," the machine says.
It is my purse. I move my purse.
"Please return item to the bagging area."
I put it back. I am sixty-eight years old and taking orders from a scale.
Then it wants to know how many bananas. I tell it four. It asks me to wait for assistance. Over comes a boy of about nineteen, who looks at my bananas and counts them. Out loud.
"Four," he says.
Now I ask you. Which one of us did they not believe?
What it is for: An older woman against a self-checkout machine. Trains polite Midwestern outrage and a question put straight to the listener. Coach's note: Watch out for making her befuddled. She is sharp, and the machine is the fool. Keep the machine's lines level and pleasant. The turn is the boy counting her bananas out loud. Ask the last question for real. What casting listens for: Casting listens for an older voice with wit and backbone, and three speakers kept distinct in a short piece.
Which One Was the Tall One
Middle age, the class reunionAdult (40-55)Neutral AmericanOne narrator45 secondsabout 46s
The name tags at my thirtieth reunion have our senior pictures on them, so we can recognize each other. This is a kindness, and it is also a cruelty.
A man walks up. Bald, sunburned, a mustache like a push broom. He looks at my chest. I look at his. On his tag is a boy with a great deal of hair.
"Danny?"
"Phil!"
We shake hands, two strangers wearing photographs of people we used to know.
"You look great," he says, to the tag.
"You too," I tell his.
Then he squints at the real me. "Sorry. Which one of us was the tall one?"
It was me. I have checked. I am not anymore.
What it is for: Two men at a thirtieth reunion talking to each other's name tags. Trains gentle self-mockery and a wistful last beat. Coach's note: Watch out for mocking Danny. The narrator is in the same boat. The turn is "Which one of us was the tall one?" The last three short sentences step down, one at a time, like a man getting shorter. What casting listens for: Casting listens for an easy, likeable everyman and a laugh that has a little ache in it.
A Card for Gary
Office comedy, signing the cardAdult (25-40)Neutral AmericanOne narrator1 minuteabout 63s
The card for Gary in Accounts reached Priya's desk at 9:14, inside a folder marked Confidential, as though Gary did not sit eleven feet away.
She opened it. Thirty people had already signed. All the good ones were taken. "Happy birthday, Gary!" "Have a great one, Gary!" Someone in Legal had written a paragraph.
Priya held her pen over the last free corner. She had worked with Gary for four years, and she knew three things about him. He liked soup. He had a boat, or possibly a goat. And he had once held an elevator for her, which she had never properly repaid.
She could not write, "Thanks for the elevator."
She wrote, "Happy birthday!" Then she looked at it, and panicked, and added, "From all of us."
She had just signed on behalf of thirty people who had already signed.
At 9:31 the folder came back with a sticky note on it. "It's a retirement card."
What it is for: The small agony of signing an office card. Trains a close third-person narrator tracking one woman's rising panic over four words. Coach's note: Watch out for racing. The comedy is in how seriously Priya takes it. Read the other people's messages in slightly different flat voices. The turn is the sticky note. Give "It's a retirement card" no emphasis at all. What casting listens for: Casting listens for precision, a sympathetic lead, and a final line dropped like a stone.
The Team-Building Canoe
Office comedy, the company retreatAdult (25-40)Neutral AmericanOne narrator1 minuteabout 62s
Our company took us to a lake for team building. The idea is that if you put two colleagues in a canoe, they will learn to communicate. This is true. I learned a great deal about Derek.
Derek is our head of strategy. In a canoe, it turns out, Derek has no strategy. Derek paddles on whichever side Derek feels like, and when the canoe turns in a circle, Derek says, "Interesting."
Other teams went past us. The interns went past us. A duck went past us, twice, and I believe the second time it was showing off.
"I think we need to align on a direction," Derek said.
"The dock, Derek. The direction is the dock."
"Let's not jump to solutions."
After forty minutes, a woman in a kayak towed us in with a rope.
On Monday he presented our learnings. There was a slide. I am not on it, but the duck is.
What it is for: Two colleagues in a canoe, going in circles. Trains corporate jargon played dead straight in the wrong place. Coach's note: Watch out for making Derek stupid. He is serene, which is worse. Her patience thins line by line. The turn is "The dock, Derek. The direction is the dock." Throw away the last line about the duck. What casting listens for: Casting listens for controlled exasperation and a distinct, maddeningly calm second voice.
Nineteen Euro to Malaga
Travel disaster, the cheap flightAdult (25-40)IrishOne narrator1 minuteabout 63s
The flight to Malaga costs nineteen euro, and I am about to find out why.
The bag is extra. Fine. Printing the boarding pass at the airport is extra, so I am at the desk with my phone held up like a woman bidding at an auction.
"That's a screenshot."
"Of the boarding pass."
"We need the live one."
There is no signal. I walk the length of the terminal with my arm in the air until I find a single bar, beside the gents'.
On the plane, the man beside me has paid for nothing at all. He is wearing three jumpers and a coat, and his pockets are full of what I slowly realise is the rest of his luggage. He takes a shoe out of his jacket.
"Twelve years," he tells me, with dignity. "Never paid for a bag."
I look at my receipt. Sixty-one euro. He has a whole sandwich in his hood.
What it is for: A cheap flight that keeps getting dearer. Trains an Irish comic read, a clipped desk exchange, and admiration creeping in at the end. Coach's note: Watch out for sneering at the man in three jumpers. She ends up in awe of him. Keep the desk clerk bored, not nasty. The turn is "He takes a shoe out of his jacket." His line has great dignity. What casting listens for: Casting listens for a quick, musical Irish delivery and a storyteller who enjoys her own bad luck.
The Wheel on the Wrong Side
Travel disaster, the hire carMature (55+)ScottishOne narrator1 minuteabout 63s
I had driven for forty-one years without incident, all of it on the left. So when Moira booked us a hire car in France, I told her it would be no bother. It is the same car. They have just put the wheel on the wrong side.
Then came the first roundabout, and every instinct I own told me to go round it the proper way.
"Other way, Alec," said Moira.
"I know."
"Alec. Other way."
"I am aware of the way, Moira."
I went round it three times, because I could not work out how to get off, with my wife calling the exits like a bingo caller. Each time I reached for the gearstick, I punched the door.
We came off, finally, on a road I had not chosen. It ran through sunflowers for eleven miles. It was the best part of the holiday.
"You meant to do that," Moira said.
"Aye," I said. "Obviously."
What it is for: A proud Scottish husband driving on the right for the first time. Trains a married couple's shorthand and a man who will never admit a mistake. Coach's note: Watch out for making Moira a nag. She is calm and correct. Alec's dignity is the joke, so never let him sound flustered, even on lap three. The turn is "It ran through sunflowers for eleven miles." The last word is a barefaced lie, told happily. What casting listens for: Casting listens for a natural Scottish accent, crisp husband-and-wife rhythm, and warmth under the pride.
Oliver Is Very Honest
Family comedy, the parent-teacher meetingAdult (30-45)Neutral AmericanOne narrator1 minuteabout 61s
The chairs at the parent-teacher conference are built for six-year-olds, so I begin the meeting with my knees beside my ears, trying to look like a responsible adult.
"Oliver is a delight," says Miss Tran.
Good. Lovely.
"He's very honest."
Oh no.
"We did a unit on families. The children shared what their parents do all day." She opens a folder. "Oliver said his father is a dentist."
"He is."
"And he said you," she checks her notes, "hide in the pantry and eat the good cookies."
I say nothing. There is nothing to say. There is a crayon drawing. I can see it from here. I am in the pantry. The likeness is excellent.
"He also said you tell the dog you love him best."
"That one's private."
"I've put it on the wall," says Miss Tran, kindly. "With the others. You should see what Mrs. Albright does in her car."
What it is for: A mother hearing what her six-year-old told the class. Trains inner asides against a polite out-loud voice, and a kind teacher with perfect comic timing. Coach's note: Watch out for playing Miss Tran as smug. She is gentle and entirely on the mother's side. The asides ("Oh no.") are inside the head, so keep them small and quick. The turn is "hide in the pantry and eat the good cookies." What casting listens for: Casting listens for a clear split between thought and speech, and two women with different temperatures.
Kenneth Does Voices
Pet comedy, an inherited parrotMature (55+)Neutral BritishOne narrator1 minuteabout 64s
We inherited the parrot from my wife's aunt, along with a sideboard. The sideboard has been no trouble.
Kenneth is an African grey, and he does impressions. For the first month it was only the aunt, which was unsettling, since we had been to her funeral. Then he began on us.
He does the microwave. He does the doorbell, and I have got up to answer it more often than I care to admit.
But his masterpiece is me. I did not know I had a noise. Apparently, when I cannot find my glasses, I say, "Now then, now then, now then," like a policeman in a pantomime. Kenneth does it perfectly. He does it whenever I walk into a room.
Last week the vicar came to tea, and from under the cover came my own voice, quite clearly, saying, "Has he gone yet?"
I have never said that. I have only thought it. That is what worries me.
What it is for: A retired Englishman and a parrot who does impressions of him. Trains a dry, slightly pompous narrator slowly losing an argument with a bird. Coach's note: Watch out for squawking. Kenneth's impressions are reported, and the only one you perform is "Now then, now then, now then," as the narrator himself. The turn is "Has he gone yet?" The last two sentences are genuine alarm, played small. What casting listens for: Casting listens for polished British understatement and a narrator whose dignity is the whole joke.
Fitness Age
Middle age, joining the gymAdult (40-55)Neutral AmericanOne narrator1 minuteabout 64s
I joined a gym at fifty-two, and they gave me a young man named Tyler to show me the machines.
Tyler was about twenty-three and appeared to have been carved. He asked what my goals were. I said I would like to put on a sock standing up.
"Awesome," said Tyler. He said it about everything. My heart rate, awesome. My weight, awesome. My answer to "When did you last exercise?", which was "last century," awesome.
He put me on a rowing machine. "Just give me two minutes at a comfortable pace."
I gave him forty seconds. Then I gave him a look.
"Awesome. Let's hydrate."
At the end he printed out my fitness age. That is a thing they can do now. He looked at the paper, and for the first time, Tyler did not say awesome.
"What's the number?"
"It's just a number, sir."
"Tyler."
He folded the paper in half. "Let's focus on the sock," he said.
What it is for: A fifty-two-year-old and a very young trainer. Trains a running gag on one word, and the moment the gag stops. Coach's note: Watch out for making Tyler dim. He is kind and relentlessly positive. Vary each "Awesome" by a hair so it stays alive. The turn is "Tyler did not say awesome." His last line is tact, delivered gently. What casting listens for: Casting listens for good-humored self-deprecation and a bright young second voice that is never mocked.
Nine Pairs of Glasses
Middle age, the reading glassesAdult (40-55)Neutral AmericanOne narrator1 minuteabout 60s
I own nine pairs of reading glasses, and at this moment I cannot find a single one.
I bought them in a pack, like socks. The plan was simple. One pair in every room, so that wherever I was, there they would be. A system.
What happens instead is that they migrate. All nine travel together to a single location, like geese, and never the same place twice. Last month it was the car. Before that, the drawer with the batteries.
So I am holding the pill bottle at arm's length, wishing for a longer arm. I cannot tell whether it says one tablet or seven.
"Sam," I call. "Come and read this for me."
My son is fifteen. He takes the bottle. Then he looks at me, slowly, at a spot just above my forehead.
I put my hand up. There is a pair there. And behind that one, another.
What it is for: A woman who owns nine pairs of reading glasses and can find none. Trains a comic theory explained with total seriousness, then a silent reveal. Coach's note: Watch out for signaling the ending. She has no idea. The turn is her teenage son looking "at a spot just above my forehead". Slow the last line into two discoveries, the first pair and then the second. What casting listens for: Casting listens for bright, self-aware humor and a narrator who can make a pause do the punchline.
The Zucchini Ordinance
Small-town farce, the town meetingAdult (40-55)Neutral AmericanOne narrator1 minuteabout 64s
The town meeting in Pell's Corner was called to order at seven, and by five past it was about zucchini.
"It's an epidemic," said Hal Brewster. "I left my truck unlocked ten minutes at the post office. Came back, there's a bag of them on the seat. No note."
"That's generosity, Hal."
"That's dumping, Louise. I've got forty of my own."
Everybody had forty of their own. That was the whole trouble.
So an ordinance was proposed. No resident shall leave squash of any kind in or upon the vehicle, porch, or mailbox of another. It passed, twenty-two to three.
Hal walked out to the lot feeling that democracy, for once, had worked.
His truck was locked. He had made sure. But the bed of a pickup does not lock, and in his lay a zucchini the size of a canoe paddle, with a ribbon on it.
There was a note, this time. "Ordinance takes effect in thirty days."
What it is for: A town meeting about surplus zucchini. Trains mock-solemn civic narration and a punchline delivered as a written note. Coach's note: Watch out for winking at the townspeople. To them this is serious. Read the ordinance like law. The turn is "But the bed of a pickup does not lock." Read the note deadpan, as the note's author would. What casting listens for: Casting listens for a storyteller's ease, quick sketches of Hal and Louise, and a straight face throughout.
The Tidiest Village
Small-town farce, the judges and the goatMature (55+)IrishOne narrator1 minuteabout 64s
The judges for the county's Tidiest Village were due in Ballymoran at noon, and at ten to, Father Dolan's goat got out.
Now, the village had been preparing since March. The kerbs were painted. The bridge had geraniums on it. Mrs. Hegarty had washed the bus shelter, and the bus had not stopped there since 2009.
The goat went through the geraniums first.
"Don't chase him," called Nora Hegarty. "He likes it."
They chased him. He went up Main Street with a hanging basket round his neck like a medal, and half the committee behind him.
At twelve, a small grey car pulled up. Two judges got out with clipboards. The village stood very still, and smiled, and sweated.
The judges looked at the bitten flowers. Then the goat came round the corner of the church, wearing the basket, and stopped, and stared at them.
"Lovely," said the first judge, writing. "A floral mascot. We haven't seen that before."
What it is for: An Irish village, a competition and an escaped goat. Trains a storyteller's lilt, a chase described at speed, and a still, breath-held ending. Coach's note: Watch out for stage Irish. Keep it light and real, and let the rhythm of the sentences do the work. Speed up for the chase, then stop dead at "The village stood very still". The turn is the judge writing "A floral mascot." What casting listens for: Casting listens for an authentic Irish read, pace changes, and affection for every person in the village, and the goat.
Leaving a Party, a Guide
Mock advice, leaving a partyAnyNeutral AmericanOne narrator1 minuteabout 62s
Leaving a party is a skill, and you do not have it.
Begin at nine-fifteen, by catching your partner's eye across the room and raising your eyebrows. This means, shall we? Your partner will raise theirs back. This means, I am having a wonderful time, who are you?
At nine-forty, stand up, say, "Well!" and slap your knees. Nothing will happen. This is normal. Sit back down.
At ten, find your coat. It is at the bottom of a pile on a stranger's bed. Put it on. You are now a person at a party in a coat, which is worse.
Say goodbye to the host. The host will say, "Already?" and introduce you to someone who has just arrived, and who sells insurance.
At eleven-thirty you will reach the front door. Open it. Step out into the cool, quiet air.
Then remember that your partner is still inside, in the kitchen, starting a new story.
What it is for: A how-to guide in second person. Trains instructional delivery with a straight face, and a timeline that keeps slipping later. Coach's note: Watch out for sounding like a comedian. Sound like a manual. Hit each clock time cleanly, because the times are the running joke. The turn is the last line, when you remember your partner. Take the "cool, quiet air" slowly first. What casting listens for: Casting listens for a confident, friendly guide voice and control of a long build with no dialogue partner.
Welp
Mock advice, the long goodbyeAdult (30-45)Midwestern USOne narrator1 minuteabout 64s
Where I come from, we do not end conversations. We wind them down, over a period of time, like a ceiling fan.
Say you meet your neighbor at the mailbox. You will cover the weather. You will agree that we needed the rain, or that we did not.
Then one of you must say, "Welp." This is the signal. It does not mean the conversation is over. It means that the ending has begun.
After "Welp" comes "I suppose." After "I suppose" comes "I'll let you go," which is generous, since you are the one who wants to go.
At this point your neighbor will remember something. A sale on mulch. You will be there another twenty minutes, both of you walking backward, getting farther apart and louder.
My mother once said goodbye to Carol Dietz in June. They finished in the dark, shouting about a casserole.
They were both still holding their mail. By then it was yesterday's.
What it is for: A fond field guide to how her own people say goodbye. Trains a regional read that is affectionate, and a comic explanation built in steps. Coach's note: Watch out for laughing at Midwesterners from outside. She is one, and says "we". Give "Welp" its full, flat glory each time. The turn is "It does not mean the conversation is over." The last line is quiet and factual. What casting listens for: Casting listens for a natural Midwestern sound, never cartoonish, and warmth toward her mother and Carol.
Swans, Reserved Seating
Comic novel, the wedding plannerAdult (30-45)Neutral AmericanOne narrator1 minuteabout 64s
Imogen Farrow had planned two hundred and six weddings, and the first rule she gave every bride was the same. No animals. Not a dove, not a pony, not a dog with the rings on a little pillow.
The Castellano wedding had swans.
They had been the groom's mother's idea. Two of them, hired by the hour, to glide across the lake behind the vows. In the brochure they looked like a pair of folded napkins. In person, they looked like they wanted to speak to a manager.
"They're not gliding," said the bride, through her smile.
"No," said Imogen.
"They're getting out."
They were. They came up the lawn side by side, unhurried, past the string quartet, which stopped, and down the aisle, which emptied.
Nobody breathed.
Then both swans sat down in the front row, in two seats marked Reserved, and faced the minister.
"Start the music," Imogen whispered into her headset. "Apparently they're with the family."
What it is for: A wedding planner watching the hired swans walk up the aisle. Trains comic fiction in the third person, with a heroine who stays professional as things go wrong. Coach's note: Watch out for flapping. Imogen never raises her voice, and the bride speaks "through her smile". Keep the swans slow and stately. The turn is the swans sitting down in the reserved seats. The headset line is a whisper. What casting listens for: Casting listens for elegant timing, a cool-headed lead, and a narrator who is enjoying every second.
Townsperson Four
Comic novel, community theaterMature (55+)Neutral AmericanOne narrator1 minuteabout 62s
Walter Finch had been with the Maple Hollow Players for nineteen years and had never once been given a line. He had been a tree. In the spring musical he had been Townsperson Four, and had been asked to hum more quietly.
But Walter knew every part. He sat in the wings each night with his lips moving, and he lived for the day somebody got the flu.
The lead had lost his voice. The director looked around backstage like a man counting lifeboats, and his eyes landed on Walter.
"Finch. You know the role?"
"I know all the roles."
Walter stood. Nineteen years. He walked out into the light, opened his mouth, and delivered the first speech perfectly. Then he delivered the reply. Then the reply to that.
He did the butler. He did the aunt. He did eleven minutes alone before the leading lady sat down on the sofa and started clapping.
What it is for: A community theater extra who finally gets to go on. Trains a mock-heroic build and a payoff that lands by accumulation. Coach's note: Watch out for pitying Walter. He is magnificent in his own mind, and the narration half agrees. Lift the energy at "Walter stood. Nineteen years." The turn is "Then he delivered the reply." Keep adding parts without taking a breath you do not need. What casting listens for: Casting listens for a narrator with theatrical relish and the discipline not to do all the character voices.
Attempt Six
Comic novel, the driving testMature (55+)Southern USOne narrator1 minuteabout 63s
Miss Opal Tidwell is seventy-four years old, and this morning she is taking her driving test for the sixth time.
Her late husband drove, and then her sister drove, and now her sister has moved to Mobile with a retired dentist. So Opal has decided to see about it herself.
The examiner is Mr. Pruitt. He has been her examiner all six times. By now they exchange Christmas cards.
"Morning, Miss Opal. Whenever you're ready."
She pulls out of the lot at a speed Mr. Pruitt will later describe to his wife as geological.
Nothing goes wrong. She signals. She stops. She parks between the cones in only four tries, a personal best.
Mr. Pruitt looks at his clipboard for a long time.
"Miss Opal," he says, and his voice is not quite steady. "You passed."
"Well, I should think so," says Opal. "Now, who is going to teach me the highway?"
Mr. Pruitt closes his eyes.
What it is for: A seventy-four-year-old Southern lady taking her driving test for the sixth time. Trains gracious, unhurried comic narration and an examiner at the end of his rope. Coach's note: Watch out for making Opal dotty. She is composed and quite sure of herself. Mr. Pruitt is fond of her and afraid of her. The turn is "Nothing goes wrong." Her last line is cheerful, and his closed eyes are the laugh. What casting listens for: Casting listens for a genteel Southern read with real charm, and present-tense narration that never drags.
My neighbor Ron has bought a leaf blower, and I would like to say a few words about peace.
Ron's lawn is forty feet across. I have measured it, at night. On it, in October, fall perhaps two hundred leaves, which a man with a rake could gather in the time it takes to boil an egg. Ron owns a machine that sounds like a jet being sad.
On Saturdays he blows the leaves into the street. The wind, which also lives here, blows them back. This goes on until lunch. It is not yard work. It is a relationship.
I have tried hints. I have stood at the window in my robe, with an expression. Ron waves.
So last week I walked over, prepared to discuss it like adults.
"Ron," I said.
He turned it off. He smiled, and held it out to me. "Want a go?"
I did his whole driveway. It is wonderful. I have ordered one.
What it is for: A grumpy man's complaint about his neighbor's leaf blower. Trains mock-dignified indignation and a complete reversal in the final three sentences. Coach's note: Watch out for real anger. This is a man enjoying his grievance. The turn is "Want a go?" After it, drop the dignity and let boyish joy in. "I have ordered one" is a confession. What casting listens for: Casting listens for curmudgeonly charm, crisp comic phrasing, and a turn the listener does not see coming.
Forty Gnomes
Comic novel, the inheritanceAdult (30-45)Neutral BritishOne narrator90 secondsabout 1.6 min
Great-Aunt Cordelia left the house to the cats' home, the money to the lifeboats, and to her nephew Rupert, whom she had always considered wet, she left the gnomes.
There were forty. The solicitor read the number twice.
They arrived in a removal van and were set out on the gravel behind Rupert's flat, where they stood in rows and looked at him. Fishing gnomes. A gnome with a wheelbarrow. One, at the back, who appeared to be reading the paper and had a distinctly disapproving nose.
"You could sell them," said his sister on the telephone.
"She put a condition. I'm to keep them a full year, all forty, in plain sight, or they go to cousin Hugo. I don't want anyone to have them, Flora. I want them not to exist."
But a year is a long time. In March he found himself straightening the one with the wheelbarrow. In May he bought a small tin of red paint, for hats. By August the woman from the ground floor stopped at the gravel and asked whether the one reading the paper had a name.
"Gerald," said Rupert, to his own surprise.
"He looks like a Gerald." She had a very nice smile. "I'm Beth."
On the last day of the year the solicitor rang. The gnomes were his to dispose of.
"Thank you," said Rupert, watching Beth repaint a fishing rod. "I shall have to ask Gerald."
What it is for: A timid Englishman who inherits forty garden gnomes with a condition attached. Trains a longer comic read with a year passing in a paragraph and a romance arriving sideways. Coach's note: Watch out for playing Rupert as a twit. He is mild and put-upon, and he grows. Keep the sister brisk and Beth easy. The turn is "But a year is a long time." The naming of Gerald surprises Rupert himself, so do not anticipate it. What casting listens for: Casting listens for classic British comic narration, three voices lightly sketched, and warmth sneaking in under the wit.
Did You Think This Was About the Books
Comic essay, the book clubAdult (40-55)Neutral AmericanOne narrator90 secondsabout 1.6 min
I joined a book club in January, as a resolution, and I would like it on the record that I have read every single book.
This makes me the only one.
There are eight of us. We meet on the first Thursday at Diane's, because Diane has the big sofa and the opinions. I buy the book. I read it. I put little flags in it, in three colors, because I was once told I was "a pleasure to have in class" and never got over it.
At seven-thirty Diane says, "So! What did everyone think?"
There is a silence.
"I loved the cover," says Renata.
"I'm about halfway," says Joyce, who is not.
Then somebody mentions her kitchen remodel, and that is the last we hear of literature. For two hours we discuss countertops. We discuss Joyce's son-in-law, who is in a band at thirty-nine.
In June I had had enough. I stood up, holding the book. "I have a question about chapter twelve," I said. "About why she goes back."
Seven faces turned to me, politely, the way you would look at a dog that had started to speak French.
"Oh, honey," said Diane. "Did you think this was about the books?"
I sat down. I thought about the eleven months I had lived in this town before January, without one person knowing my name.
"Pass the cheese," I said. "And tell me about the band."
What it is for: The only member of a book club who reads the books. Trains a long comic essay that turns, late, into something true about loneliness. Coach's note: Watch out for superiority. She is a little ridiculous with her colored flags, and she knows it. Keep the club women likeable. The turn is Diane's "Oh, honey. Did you think this was about the books?" Then the eleven months line is the real story, so give it one honest beat and move on. What casting listens for: Casting listens for wit, several women's voices kept apart, and a soft landing with no sentiment laid on.
Five Words on a Napkin
Family comedy, the wedding toastYoung adult (18-25)Neutral AmericanOne narrator90 secondsabout 1.6 min
I am the best man at my brother's wedding, and in ninety seconds I have to give a speech that I wrote on the plane.
The good one is on my laptop, in a taxi somewhere in Cleveland, having a nicer evening than I am.
What I have is a cocktail napkin. On it are five words. "Funny story. Fishing. Mom. Toast." I do not remember the funny story. I am not confident about "Fishing."
The DJ hands me the microphone. My brother Ben gives me a thumbs up, the same one he gave me when I was nine and about to jump off the garage roof on his advice.
"Hi," I say. "I'm Josh. I'm the brother."
So far, accurate.
"Ben is four years older than me. So my whole childhood, he got there first. First one to tell me what happens if you jump off a garage."
A small laugh. I look at the napkin.
"I had a funny story," I hear myself say. "I lost it. So here is the true one. When I broke my arm, he carried me four blocks to the hospital. He cried more than I did. And he told Mom it was his idea before she could even ask." My voice does something. "That's who you married, Claire. He'll tell you to jump. But he will carry you after."
I raise my glass. I check the napkin.
"Also, Mom. Hi."
What it is for: A best man who has lost his speech. Trains a narrator switching between panicked thoughts and a public microphone voice, and a toast that becomes sincere by accident. Coach's note: Watch out for playing the toast as polished. It is found, word by word. Keep the inner commentary ("So far, accurate.") quick and private. The turn is "So here is the true one." His voice wobbles once. The last line rescues everyone with a laugh, so brighten for it. What casting listens for: Casting listens for a young, funny, real brother, a clear difference between thinking and speaking, and emotion that is earned.
Camping, Once
Travel disaster, the family camping tripAdult (40-55)Midwestern USOne narrator90 secondsabout 1.6 min
I took my family camping one time. I want to stress the number.
My wife had suggested a cabin. I said my father took us every summer with a canvas tent and a can opener, and it built character. I did not mention that what I mainly remember is being cold.
The tent was new. The instructions said one person could put it up in eight minutes, and I would like to meet that person. At six-thirty my twelve-year-old took the poles away from me, gently, the way you take car keys from a grandfather.
It rained at nine. Just steadily, and from the side.
At eleven, something outside ate our entire cooler. It took its time. It opened the mustard.
"Dad," whispered my daughter. "Is that a bear?"
"No, honey."
"How do you know?"
I did not know. I lay there in an inch of water, holding a flashlight like a man who intends to reason with it.
At dawn I unzipped the tent. On our picnic table sat a raccoon the size of an ottoman, finishing a hot dog bun. It did not leave.
I turned to tell my family we were going home.
They were asleep. All three, in a wet heap, my son's foot in my wife's hair. They woke up laughing.
They want to go again in July. I was outvoted, three to one. Four, if you count the raccoon.
What it is for: A father's one and only camping trip. Trains long-form comic storytelling with a steady decline, a whispered night scene, and a warm ending he did not expect. Coach's note: Watch out for shouting the disasters. Underplay them, because he is reporting for the record. Whisper the tent dialogue. The turn is "They were asleep." Let him be quietly amazed. Count the vote at the end without hurry and give the raccoon its due. What casting listens for: Casting listens for an easygoing Midwestern dad, timing on short lines like "It opened the mustard," and affection for his family.
Questions
How do I make a funny passage land?
Play it straight. Say the joke as if it is a serious complaint, leave a short beat before the last word, and never laugh at your own line.
Are these from real books?
No. Every excerpt 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.
Reading alone only gets you so far
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