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Paranormal romance audiobook scripts

30 original paranormal romance excerpts for narrators, including matched dual POV pairs. Free to practice with, record and post.

Paranormal romance is a love story where one of the leads is a vampire, a werewolf, a witch or a ghost, usually in an ordinary town. A lot of it is funny. These excerpts cover all of those, plus demons and psychics, and three pairs give the same scene from each lead. Every excerpt is closed-door.

One Room, One Coffin

Vampire, forced proximityAdult (25-40)Neutral AmericanOne narrator30 secondsabout 33s
The inn had one room left, and the room had one bed. My business partner solved this by unzipping a coffin out of a garment bag. "You travel with a coffin," I said. "You travel with four pairs of shoes." "Shoes are normal!" "I am three hundred and six, Mabry. Normal and I parted ways some time ago." Lucan patted the lid. "Take the bed. I do not snore. I do not even breathe." Somehow, that was not comforting. Somehow, I slept fine.

What it is for: An audition-length paranormal romance cut. Trains fast banter between an exasperated human and a deadpan vampire, with a soft button at the end.
Coach's note: Watch out for giving Lucan a horror-film voice. He is dry and tired, not menacing. The turn is 'I do not even breathe'; let her beat of silence land before the last two sentences.
What casting listens for: Casting listens for two people in thirty seconds, and for a narrator who finds the comedy without pushing it.

The Medium Is Never Wrong

Psychic and skeptic, comedicAdult (30-45)Neutral AmericanOne narrator30 secondsabout 29s
"You are going to spill that coffee," said the psychic, and I, a rational adult with a physics degree, held my cup very carefully for the next ten minutes out of pure spite. "Still dry," I said. "Give it time." "That is not a prediction, Ms. Okonjo. That is gravity and patience." She smiled into her tea. "You also think I am pretty." I spilled the coffee. "There it is," she said.

What it is for: A short psychic-and-skeptic cut. Trains a stubborn, rational narrator who loses an argument in four lines.
Coach's note: Watch out for playing her as mystical. She is amused and completely relaxed, which is what unsettles him. The turn is 'You also think I am pretty'; then 'I spilled the coffee' is flat, defeated, quick.
What casting listens for: Casting listens for comic timing on a three-word line and a clean switch between his clipped voice and her easy one.

Fated, Apparently

Werewolf, fated matesYoung adult (18-25)Neutral AmericanOne narrator30 secondsabout 30s
According to four hundred years of pack tradition, I would know my fated mate by a lightning bolt to the heart. What I got was a man in the frozen food aisle, sneezing on my cart. "Sorry," he said. "Allergies. Do you have a dog?" "In a manner of speaking." He sneezed again. My heart, the traitor, rolled over like a puppy. Perfect. The moon had picked me a soulmate, and he was allergic to me.

What it is for: A fated-mates hook played for laughs. Trains a wry first-person voice that sets up a grand expectation and punctures it.
Coach's note: Watch out for rushing the first sentence. 'A lightning bolt to the heart' needs its full weight so the frozen food aisle can undercut it. The turn is 'My heart, the traitor'.
What casting listens for: Casting listens for a narrator who sounds like a real person telling a friend, with a punchline she does not oversell.

Do Not Kiss a Hartigan

Family curse, small townAdult (25-40)IrishOne narrator30 secondsabout 29s
There is a curse on the Hartigan men, and everybody in town can recite it: kiss one, and you forget him by morning. "So nobody ever has," I said. Teodor shrugged and kept sanding the boat. "Twice. Nice women. They wave at me now like I am the postman." "That is the saddest thing I have ever heard." "Then stop looking at my mouth, Wynn." I had not been. I was now.

What it is for: A curse premise in six lines. Trains longing under light conversation, and a male lead who is resigned rather than tragic.
Coach's note: Watch out for making Teodor sorry for himself. He says the sad thing as plain fact and keeps working. The turn is 'Then stop looking at my mouth'; the last two short sentences are the whole romance.
What casting listens for: Casting listens for restraint. The scene gets more romantic the less either of them shows it.

Last Wash at Three A.M.

Vampire, night-shift businessAdult (30-45)Neutral AmericanOne narrator45 secondsabout 51s
Nobody asks why a laundromat is open all night until they need one at three in the morning. Then they are just grateful, and they do not look too hard at the owner. I looked. I am a nurse. Looking is the job. "You have no reflection in the dryer doors," I said. Anselm did not glance up from his crossword. "They are very old dryers." "I can see myself in them." "You are very reflective." He tapped his pencil. "Seven letters, 'unwanted attention'." "Scrutiny." "Thank you." He wrote it in, slowly, in handwriting that belonged on a treaty. "Your scrubs are done, Josie. I added fabric softener. You seemed to have had a long night." A vampire. A considerate one. I was in so much trouble.

What it is for: A vampire who runs an all-night laundromat. Trains a tired, observant heroine against a formal, very old man, with a crossword as the comic engine.
Coach's note: Watch out for playing the reveal as scary. She is a nurse; she is noting a symptom. The turn is 'I added fabric softener', where the joke becomes kindness. Keep Anselm's eyes on the crossword until then.
What casting listens for: Casting listens for an old-world male voice that is courteous without an accent you cannot sustain for ten hours.

The Pack Has a Group Chat

Werewolf, pack politicsYoung adult (18-25)Neutral AmericanOne narrator45 secondsabout 50s
Werewolf pack politics used to mean blood on the snow. These days it means my aunt Roswitha typing in capital letters at six in the morning. The chat is called Moon Business. There are forty-one of us in it. Yesterday's emergency was who left a deer in the shared freezer without a label. Then, at 6:14, a new message. From Dario Venn. Dario of the Eastside pack, who has no business being in our chat, and who I may have added by accident after one cider at the solstice mixer. "Good morning," it says. "The deer is mine. So, I suspect, is the embarrassment." Forty people have seen it. My aunt replies with a single question mark. I reply with a heart. By accident. Mostly.

What it is for: Modern pack politics as family comedy. Trains reading messages aloud inside narration without a 'texting voice', and a mortified narrator.
Coach's note: Watch out for performing the quoted message as a joke. Dario writes it straight and a little formal, and that is why it is charming. The turn is 'From Dario Venn'; the last three words are a confession.
What casting listens for: Casting listens for whether the narrator can be embarrassed and pleased in the same breath.

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Community Service, Hour Six Hundred

Demon, community serviceAnyNeutral AmericanOne narrator45 secondsabout 47s
The court of the Ninth Circle sentenced Azrik to one thousand hours of community service, and Parks and Recreation got him on Tuesdays. "You cannot set the leaves on fire," said Hattie, for the third time. "It would be faster." "It would be arson." "I have been convicted of worse." He picked up the rake between two fingers, like a dead thing. "In my realm I commanded legions." "In this park you command that pile." She handed him a juice box. "Hydrate. You are doing great." Nobody had told Azrik he was doing great in six thousand years. He stared at the tiny straw for a long moment. Then he raked. Quite carefully. In case she was watching.

What it is for: A demon raking leaves for the parks department. Trains third-person comedy with a grand, wounded male voice against a cheerful, unbothered woman.
Coach's note: Watch out for making Azrik growl. His dignity is the joke, so keep him precise and offended. The turn is 'You are doing great'; slow down for the juice box, then let the last three short sentences get smaller.
What casting listens for: Casting listens for affection in the narration. The narrator should like this demon before the heroine does.

Everybody in Pennywhistle Knows

Small-town witchesAdult (25-40)Southern USOne narrator45 secondsabout 49s
In a town of nine hundred people and eleven witches, you cannot keep a crush secret. The weather tells on you. It had rained on Main Street every afternoon since Jonah Beckett came home to run his daddy's hardware store. Just Main Street. Just around four, when he swept the front step. "That your cloud, Delphine?" Miss Odessa asked, not looking up from her snap beans. "No, ma'am." "It followed you into the post office, sugar." "That is a coincidence." "It is raining on your shoes. Indoors." I looked down. It was. Across the street, Jonah leaned on his broom, squinted up at the one gray cloud in a blue sky, and smiled like a man who had finally done the math.

What it is for: Small-town witch romance where the magic gives the heroine away. Trains a light Southern narrator and an older neighbor who misses nothing.
Coach's note: Watch out for laying the accent on thick. Keep it in the rhythm, not the vowels. Miss Odessa never raises her voice. The turn is 'It is raining on your shoes. Indoors.' and the last sentence belongs to Jonah, so warm up for it.
What casting listens for: Casting listens for an accent that stays the same from the first line to the last, and for two distinct women.

The Immortal Hates Mornings

Grumpy immortal, sunny humanAdult (40-55)Neutral BritishOne narrator45 secondsabout 50s
Cassius Vane had survived two plagues, one shipwreck, and the entire eighteenth century. He was not sure he would survive his new neighbour. "Good morning!" she called over the fence. It was six. She had a watering can and a sunhat with daisies on it. "It is morning," he allowed. "I made too many muffins. Do you like blueberry?" "I do not like anything." "Great, so you have no objection." She passed the basket over. "I am Poppy. You look like you have not slept in a hundred years." "Two hundred and twelve." She laughed. She thought he was joking. And Cassius, who had not been surprised since the invention of the steam engine, found himself holding a warm muffin, with nothing to say.

What it is for: Grumpy and sunshine in one fence-line meeting. Trains contrast: a low, economical male voice and a bright female one that never turns shrill.
Coach's note: Watch out for playing Poppy as silly. She is kind and quick. Cassius answers in as few words as he can. The turn is 'Two hundred and twelve', said as simple truth, and the final sentence should sound like a man caught off guard.
What casting listens for: Casting listens for a female voice from a male narrator that is lighter in energy, not higher in pitch.

Wards on a Fourth-Floor Walk-Up

Urban magic, neighborsAdult (25-40)Neutral AmericanOne narrator45 secondsabout 50s
City magic is not cauldrons and moonlight. City magic is knowing which subway car to stand in, and never, ever feeding the pigeons on Calloway Street after dark. So when the new guy in 4B chalked a protection ward on our shared landing, and got it backwards, I knocked. "Your ward is inviting things in," I said. He blinked at me. Flour on his glasses. Spell book open on a pizza box. "It is? The video said clockwise." "The video was filmed in the southern hemisphere." "Oh no." "Oh yes. Something with too many elbows has been sitting on the fire escape since Tuesday, waiting to be asked." I held out my hand for the chalk. "I am Ines. Scoot over. I will show you."

What it is for: City magic and a meet-cute on a shared landing. Trains a confident, streetwise narrator and a flustered male lead.
Coach's note: Watch out for racing the opening rules. They set the world, so place each one. His 'Oh no' is small and sincere. The turn is 'Scoot over. I will show you', where irritation becomes an offer.
What casting listens for: Casting listens for an expert who is funny without being mean, and for two clear voices at speed.

The Lease Says No Hauntings: The Tenant

Ghost and tenant, dual POVAdult (25-40)Neutral AmericanOne narrator1 minuteabout 62s
I signed a twelve-month lease on a haunted apartment, and the ghost is the best roommate I have ever had. He does not eat my leftovers. His only flaw is that he died in 1926 and has opinions about my hemlines. "You are not wearing that to dinner," says Emmett. "It is a dress." "It is most of a dress." "He is an accountant, Emmett. He is not going to faint." "An accountant." The lamp flickers, which is how he sighs. "You deserve a man who would cross an ocean for you. Not one who would ask if it was deductible." I laugh. It takes me a moment to notice that the mirror has fogged over, except for one clear patch the size of a man's hand. "Emmett?" "Have a lovely time, Clara," he says. Very politely. From very far away. I do not have a lovely time. I spend the whole dinner wondering why.

What it is for: Half of a dual-POV pair with 'The Lease Says No Hauntings: The Ghost'. Trains a breezy heroine who does not yet know what she is feeling. Record both and compare.
Coach's note: Watch out for playing the ending as sad. She is puzzled, not heartbroken. Emmett is fond and fussy until the mirror fogs. The turn is 'Emmett?' and his last line comes from across the room, quieter, not ghostly.
What casting listens for: Dual-narration casting listens for your version of Emmett: it has to be a man the male narrator could plausibly be.

The Lease Says No Hauntings: The Ghost

Ghost and tenant, dual POVAdult (25-40)Neutral AmericanOne narrator1 minuteabout 65s
The rules of being dead are few, and the first is this: you may not want anything. Wanting is what keeps you here. I managed it for ninety-eight years. Then Clara moved in, with eleven boxes of books and a habit of saying good morning to an empty room, just in case. "You are not wearing that to dinner," I say. "It is a dress." "It is most of a dress." She laughs. I have made her laugh. I shall think about it later far more than I should. I tell her she deserves a man who would cross an ocean. I do not tell her that I once did, for a great deal less. She fastens an earring. I reach for the mirror beside her face, and the glass goes white under a hand I do not have. Wanting. There it is. "Have a lovely time, Clara," I say, and I go and stand inside the wall until I hear the door.

What it is for: The other half of the pair with 'The Lease Says No Hauntings: The Tenant': same evening, his interior. Trains longing held behind good manners.
Coach's note: Watch out for copying the rhythm of her version. The shared lines are the same words with a hundred years behind them. The turn is 'Wanting. There it is.' Say it like a diagnosis, then make 'Have a lovely time' cost him.
What casting listens for: Casting listens for a 1920s man without a period impression: care with words, not a put-on voice.

Full Moon Potluck, Her Plate

Werewolf, fated mates, dual POVAdult (25-40)Neutral AmericanOne narrator1 minuteabout 65s
Nobody warned me that the Coyle family reunion was a werewolf pack, so I showed up to cater it with a vegetarian lasagna. Forty people stared at it like a live grenade. "It is very brave," said the tall one. He had a serving spoon, kind eyes, and shoulders like a barn door. "I am Rafferty. I will eat it." "You do not have to eat it." "I am going to eat all of it. Loudly. Where they can see." He took a bite. Something happened to his face. He set the spoon down, like a man who had just heard his name called from a long way off. "Is it bad?" I asked. "No." He was looking at me, not the lasagna. "No, it is, um. What did you say your name was?" "Bex." "Bex," he said, as if he were writing it somewhere permanent. Behind him, a grandmother dropped a whole tray of ribs, and the whole reunion started to grin.

What it is for: Half of a dual-POV pair with 'Full Moon Potluck, His Plate'. Trains a human outsider's comic view of a fated-mates moment she cannot see happening.
Coach's note: Watch out for letting her understand too much. She thinks the lasagna is the problem. Rafferty is gentle and big, so keep him low and unhurried. The turn is 'No.' He was looking at me, not the lasagna.
What casting listens for: Casting listens for a heroine who is funny because she is trying to be professional, and for a male voice that stays kind.

Full Moon Potluck, His Plate

Werewolf, fated mates, dual POVAdult (30-45)Neutral AmericanOne narrator1 minuteabout 66s
My grandmother says you know your mate by scent, and that it will knock you flat. I have spent thirty-one years assuming my grandmother exaggerates. Then the caterer walks in smelling of basil and rain, carrying a vegetarian lasagna into a yard full of wolves. Nobody moves. Somebody has to be kind. "I am Rafferty," I tell her. "I will eat it." "You do not have to eat it." "I am going to eat all of it. Loudly. Where they can see." One bite. And the whole yard tips sideways. Basil. Rain. Her. Every instinct I own sits up and says, there you are. I put the spoon down before I bend it. "Is it bad?" she asks. I will have to explain this to her. Not today. Today I just need her name, and for my grandmother to stop looking so pleased with herself. "What did you say your name was?" "Bex." Bex. Fine. Good. I only have to rearrange my entire life.

What it is for: The other half of the pair with 'Full Moon Potluck, Her Plate': the same bite of lasagna from inside the wolf. Trains big feeling played against a calm surface.
Coach's note: Watch out for going breathless on 'Basil. Rain. Her.' Three plain beats are stronger than a swoon. His spoken lines stay steady while the narration panics. The turn is 'One bite', and the last line is dry.
What casting listens for: Casting listens for humor and sincerity together. If the fated-mate moment is only a joke, the pairing does not work.

The Juniper Street Seance: Her Reading

Psychic detective and skeptic, dual POVAdult (30-45)Neutral AmericanOne narrator1 minuteabout 65s
Detective Trask did not believe in me, and he had a way of not believing that took up the whole room. "So the dead man told you where the ledger is," he said. "The dead man showed me a blue door and the smell of oranges." "That is not an address, Ms. Linwood." "It is not supposed to be. It is where you start." He wrote something in his notebook. Probably the word fraud, underlined. And then, because the dead have no manners, I got one more thing. Not about the case. About him. A kitchen. A woman singing off key. A boy on a stool, laughing so hard he fell off. "Your mother sang while she cooked," I said. "Badly. You miss it." His pen stopped. I had meant to prove a point. I had not meant to watch a hard man's face come apart and put itself back together in one breath. "Blue door," he said quietly. "Oranges. Let's go."

What it is for: Half of a dual-POV pair with 'The Juniper Street Seance: His Report'. Trains a calm professional who is used to being doubted, and a turn from point-scoring to tenderness.
Coach's note: Watch out for making her spooky during the vision. She reports it like weather. Trask is clipped and tired. The turn is 'His pen stopped'; after it, she is sorry, and his last line is quiet, not gruff.
What casting listens for: Casting listens for the moment the scene stops being about the case. You should hear her regret winning.

The Juniper Street Seance: His Report

Psychic detective and skeptic, dual POVAdult (40-55)Neutral AmericanOne narrator1 minuteabout 64s
For the record, I do not believe in psychics. I believe in fingerprints, phone records, and people lying to me before lunch. So I had my speech ready when Vada Linwood closed her eyes in that dusty parlor. Cold reading. Lucky guesses. "Blue door," she said. "Oranges." "That is not an address, Ms. Linwood." She did not take the bait. She never does. She just looked at me, patient as a Sunday, and I wrote down blue door, oranges, and underneath it, why does she never get angry. Then she tilted her head, like someone listening through a wall. "Your mother sang while she cooked. Badly. You miss it." Nobody knows that. I have not said it out loud in thirty years. I would like the report to show that I remained professional. I said, "Let's go," and I held the door. The report does not need to show that my hands were shaking, or that she pretended not to notice.

What it is for: The other half of the pair with 'The Juniper Street Seance: Her Reading': the skeptic's account, written like a report that keeps slipping. Trains a guarded narrator who gives himself away.
Coach's note: Watch out for playing him cold. 'For the record' is armor, and it should thin as he goes. The turn is 'Nobody knows that.' The final paragraph is what he will not write down, so take it off the page and say it to yourself.
What casting listens for: Casting listens for a man who is moved and embarrassed by it. Dry at the top, unguarded at the end.

The Truth Croissant

Cursed bakeryAdult (25-40)Neutral BritishOne narrator1 minuteabout 64s
My grandmother left me a bakery, a mortgage, and a curse: anyone who eats one of our pastries before noon cannot tell a lie until sundown. Business was terrible. Nobody wants honesty with their coffee. Except the man from the bank. He came in every morning at eight, ordered one almond croissant, and ate it right there at my counter, on purpose. "You know what it does," I said. "I do." "You are a loan officer." "Which is why I hold my meetings in the afternoon. Ask me something, Tilly." "Is the bank going to foreclose on me?" "Not if I can help it. I have been losing your paperwork for six weeks." "Why?" He opened his mouth. I watched him try three different polite answers and fail at every one. "Because I like it here," Julian said at last, pink to the ears. "Because of you. Mostly because of you. Oh, this is dreadful. Could I have another one?"

What it is for: A cursed bakery where pastry forces honesty. Trains a confession scene in which the male lead cannot stop himself, played for charm.
Coach's note: Watch out for rushing Julian's last speech. He is trying to find a polite lie and failing in real time, so let each attempt break off. The turn is 'I have been losing your paperwork for six weeks'.
What casting listens for: Casting listens for a flustered male lead who stays likeable, and a heroine whose suspicion melts without a big gear change.

The Night Bus Stops for Witches

Urban magic, night busYoung adult (18-25)Neutral BritishOne narrator1 minuteabout 66s
The 2:40 night bus is not on any timetable, and the driver only stops if you hold out a coin that is older than you are. I held out my grandfather's lucky penny. The doors sighed open. "You are new," said the driver. He had tired eyes and a flask the size of a fire extinguisher. "First rule. Do not talk to the gentleman at the back. He is a weather front." "He is a what?" "Very moody. Second rule, no spells while the bus is moving. Last week somebody summoned a goose." "Is the goose all right?" That got me a look in the mirror. Then, slowly, a smile, like a streetlight coming on. "The goose is fine. The goose has a seat. Nobody ever asks about the goose." He pulled away from the kerb. "Where to, miss?" "Anywhere," I said. I had meant to say home. But it was warm on the bus, and the driver kept finding my eyes in the mirror.

What it is for: Urban magic told through a late-night bus ride. Trains world-building delivered as casual rules, and a slow-warming driver.
Coach's note: Watch out for playing the driver as a comic turn. He is tired and has said these rules a thousand times. The turn is 'Is the goose all right?', the first question anyone has asked that he likes. Let the last paragraph slow and soften.
What casting listens for: Casting listens for a narrator who can make a strange world feel ordinary, and a smile you can hear arriving.

The Coven Meets at the Feed Store

Small-town witches, later-in-lifeMature (55+)Southern USOne narrator1 minuteabout 66s
The Briar County coven meets Thursdays in the back of Tucker's Feed and Seed, between the chicken wire and the salt licks, and I have been its secretary for thirty-one years. Item one was the drought. Item two was Loretta's ex-husband, who remains a toad, by unanimous vote. Item three walked in late, carrying a pecan pie. "Evening, ladies," said Wendell Tucker. Widower, sixty-three. He has never once asked what the candles are for. "This is a closed meeting, Wendell," I said. "I know it, Maybelle. I just figured witches get hungry." Seven women turned to look at me. I kept my eyes on the minutes. "Who told you we were witches?" "Nobody. I have been sweeping up your salt circles since 1994." He set the pie down. "I also figured, after thirty-one years, a man could ask the secretary to supper." Let the minutes show the secretary said yes. Let them also show it rained that night, for the first time in two months.

What it is for: A later-in-life romance inside a small-town coven. Trains a mature, dry narrator who reads her own love story as meeting minutes.
Coach's note: Watch out for sweetening Maybelle. She is brisk and a little stern, and that is why the yes lands. Wendell is slow and sure. The turn is 'I have been sweeping up your salt circles since 1994'.
What casting listens for: Casting listens for a mature voice with humor and backbone. Older romance leads are in demand and hard to cast well.

Demon, Volunteer of the Month

Demon, animal shelterAdult (30-45)Neutral AmericanOne narrator1 minuteabout 63s
I have tempted saints and toppled two small kingdoms, and I am telling you, nothing in all the pits prepared me for a one-eyed kitten named Biscuit. "He likes you," says Orla. "He is climbing me. That is different." "Hold your arm steady, Malachar. You are going to make a grand cat tree." Three hundred hours of service, the tribunal said. Feed the animals. Clean the cages. Harm no one. They said nothing about the shelter manager having a laugh like a door opening on a warm room. "You are smiling," she says. "I am baring my teeth. It is a threat display." "It is not a very good one." She reaches up and plucks the kitten off my horn. Her fingers brush it. No mortal had ever touched me without a contract. "There, now. Same time Thursday?" My sentence ends in the spring. I have already begun committing small crimes to extend it. Yesterday I jaywalked. Twice.

What it is for: A demon sentenced to an animal shelter, in his own grand voice. Trains pompous first-person comedy that gives way to real feeling, with a lightly Irish heroine as the second voice.
Coach's note: Watch out for sending him up. He means every lofty word. Orla is quick and teasing; a touch of Irish rhythm is enough. The turn is 'No mortal had ever touched me without a contract', said simply. Then the jaywalking is deadpan.
What casting listens for: Casting listens for a character voice the narrator can carry for a whole book without tiring the listener.

The Graveyard Shift Florist

Vampire, night-shift businessAdult (25-40)Neutral BritishOne narrator1 minuteabout 66s
Bellamy's Flowers opened at dusk and closed at dawn, and in two years of driving his van, I had never once seen my boss eat lunch. "Hospital order, ward six," he said, sliding a box of white roses across the counter. "And this is for you." It was a sprig of rosemary. "For remembrance. You forgot your scarf on Tuesday. I have started a shelf." "You could just say, Anjali, you left your scarf." "I could." Mr. Bellamy adjusted his cuffs. He wore a full suit, at three in the morning, among buckets. "But I have been speaking in flowers since eighteen forty, and I find I am out of practice with the other way." I laughed. He did not. "Eighteen forty," I said. "Give or take." He looked up, and for once he let me see how old his eyes were. "I would rather you heard it from me than from the garlic you keep in the van. Which does nothing. I rather like garlic."

What it is for: A vampire florist who speaks in flowers. Trains a gentle reveal scene: formal, shy male lead, practical heroine, no menace anywhere.
Coach's note: Watch out for playing 'Eighteen forty' as a shock. She repeats it flat, checking she heard right. Mr. Bellamy is careful and old-fashioned, never sinister. The turn is 'I laughed. He did not.' and the garlic line is his one small joke.
What casting listens for: Casting listens for whether the confession feels like trust being offered. That is the romance in this scene.

Alpha by Committee

Werewolf, pack politicsAdult (30-45)ScottishOne narrator1 minuteabout 66s
The old way to become alpha was to fight for it under a full moon. The new way is a three-hour meeting in the community hall, with a tea urn and a show of hands. I am losing. To Isla MacRennie, who has a slideshow. "Slide four," she says. "Patrol rota. Fairer shifts, and nobody runs the north ridge alone." "We have always run the north ridge alone," I say. "Aye, Lachlan, and you have always come back with a limp." She clicks to the next slide. It is a photograph of me, limping. The whole pack laughs. I should be furious. But she is right about the ridge, and the rota, and worst of all the limp, and she is looking at me across the hall as if she is waiting to see what kind of wolf I am. So I put my hand up. For her. The room goes very quiet. Isla forgets which slide she is on. "Seconded," I say. "Madam Alpha."

What it is for: Pack leadership decided in a community hall. Trains a proud male narrator losing gracefully, and rivals-to-lovers told through a vote.
Coach's note: Watch out for playing Lachlan as sulky. He is impressed and annoyed about it. Isla is brisk and enjoying herself. The turn is 'So I put my hand up. For her.' Leave air after it; the room goes quiet for a reason.
What casting listens for: Casting listens for a Scottish accent that stays light and clear, and for respect turning into something warmer.

What the Cards Left Out

Urban magic, tarot readerAdult (30-45)AustralianOne narrator1 minuteabout 66s
I read tarot out of a shopfront between a kebab place and a phone repair stall, and I am right about nine times out of ten. It is the tenth one that walks in on a Friday. "I do not believe in this," he says, sitting down anyway. "Lovely. That will be forty dollars." He pays. I shuffle. The cards come out all wrong. Not bad wrong. Personal wrong. The Lovers. And then a card that is not in my deck at all: a little hand-painted woman in a purple shopfront, holding a deck. "What does that one mean?" he asks. "No idea, mate." "She looks like you." "She does not." "She has your earrings." She does. I turn the card face down. It turns itself back up. "Right," I say. "The universe is being a bit forward today. Do you want a cup of tea while I have a word with it?" He grins. "I am Eamon. And yeah. I reckon I do."

What it is for: A shopfront tarot reader whose deck starts matchmaking. Trains a dry Australian narrator and quick two-hander banter.
Coach's note: Watch out for pushing the accent on 'mate' and 'reckon'. Let them pass like any other word. The turn is 'She has your earrings'; her 'She does.' is the moment she stops arguing with the universe.
What casting listens for: Casting listens for an Australian voice that is natural and unhurried, and for a narrator who is rattled but hides it well.

The Ghost Who Could Not Flirt

Ghost, museum night guardAnyNeutral BritishOne narrator1 minuteabout 68s
Sir Peregrine Ashby-Lowe had been dead for two hundred years and charming for none of them. In life he had been shy. In death he was shy and also transparent, which did not help. So when the museum hired a night guard who hummed, ate crisps and talked to the paintings, he resolved to say something witty. He drifted through the gallery wall. She looked up. "Oh," said Dot. "You are the cold spot." Peregrine had prepared a remark about moonlight. What came out was, "Crisps are not permitted near the tapestries." "Sorry." She held out the bag. "Want one?" "I cannot eat." "Want to smell one?" It was the kindest offer anyone had made him since 1811. He leaned in. Salt and vinegar. Extraordinary. "I am Peregrine," he managed. "I know, love. You are on the plaque. Go on, then. Sit. Tell me which of these portraits were nice people." He sat. He had a great deal to say. He had only been waiting two centuries for someone to ask.

What it is for: A shy Regency ghost and a chatty museum guard. Trains third-person comic narration with two strongly contrasted British voices.
Coach's note: Watch out for making Peregrine pompous. He is terrified. Dot is warm, working-class, entirely at ease. The turn is 'Want to smell one?' and the last sentence should carry two hundred years without getting heavy.
What casting listens for: Casting listens for class and period difference in the two voices without caricature on either side.

Hexes, No Refunds

Rival witches, enemies to loversAdult (30-45)Neutral AmericanOne narrator1 minuteabout 67s
There are two magic shops on Wickerby Lane, and for eleven years the owners have communicated only by hexing each other's signs. This morning mine read: Moonflower Apothecary, Now With Fleas. I marched across the street. Rowan Castellane was up a ladder, repainting his own sign, which I had changed last week to say Overpriced Sticks. "Fleas," I said. "Really." "I thought it was restrained." "I had a bride in at nine." "Did she buy anything?" "A love charm. Which I had to discount. Because of the fleas." He came down the ladder. He was trying not to smile, which has been the most annoying thing about him since we were nineteen. "Juno. Your charms do not work." "They work perfectly." "Then how come you have been selling them across from me for eleven years, and I am still only painting your sign?" I had a reply. I had several. They all left at once. "That," he said gently, "was a hint. I can do it again, slower."

What it is for: Rival magic shops and an eleven-year feud. Trains enemies-to-lovers banter at pace, with a dead stop when he says the true thing.
Coach's note: Watch out for keeping the same speed all the way through. The bickering is quick; then 'Juno.' changes the tempo. The turn is his long question about the love charms. Her replies 'all left at once', so do not fill that silence.
What casting listens for: Casting listens for banter that sounds like two people who know each other very well, not two people trading jokes.

The Morning Person and the Immortal

Grumpy immortal, sunny humanYoung adult (18-25)Neutral AmericanOne narrator1 minuteabout 66s
My boss is four hundred years old, allergic to small talk, and has fired eleven assistants. I have lasted nine weeks, and I think it is because I bring snacks. "Good morning, Mr. Hallowell!" "That remains to be seen." "I alphabetized the grimoires." "They were arranged by century." "Now they are arranged by century and alphabetized. Also, I named the gargoyle. He is Gary." Mr. Hallowell closes his eyes, the way he does when he is counting to ten in Latin. "Miss Abara. In four centuries, no one has named the gargoyle." "Well, that is very sad for Gary." Silence. I brace for assistant number twelve. Instead he makes a sound. A rusty, startled, undignified sound, like a gate nobody has opened in years. It takes me a second to work out that it is a laugh. He looks more shocked than I do. "You will not mention that," he says, "to anyone." "Mention what?" I set a cookie on his desk. "Gary saw nothing."

What it is for: A cheerful assistant and a four-hundred-year-old employer. Trains a bright narrator who never tips into perky, against a man of very few words.
Coach's note: Watch out for smiling through every line. She is sunny, but she braces when she thinks she is fired. The turn is the laugh: describe it with wonder, do not perform it. Her last line is quiet loyalty, not a gag.
What casting listens for: Casting listens for whether 'sunny' has a brain behind it. She is winning on purpose.

The Midnight Window at City Hall

Urban magic, city bureaucracyAdult (30-45)Neutral AmericanOne narrator90 secondsabout 1.7 min
City Hall has a window that only opens after midnight, and I am the one who sits behind it. Permits, licenses, and complaints, for the part of the city that does not show up on maps. Tonight's last customer has a raincloud on a leash. It is a small cloud, and it is raining on his left shoe. "I need to register a familiar," he says. "That is a weather event." "She is a very small weather event. Her name is Drizzle. She followed me home in April. I have tried releasing her over three reservoirs. She comes back." "Sir, the city does not license loose precipitation." "What does the city do?" The city, according to section nine, sends a containment team with a very large jar. I look at the cloud. The cloud drifts up to the glass and rains, gently, on my side of the counter. On my hand. It is warm, like a bath. Eleven years I have followed section nine. "Species," I say, and I write down: dog. "You cannot put dog." "Small gray dog. Sheds water. Sign here." I slide the form under the glass. Our fingers nearly touch, and the lights on the whole fourth floor flicker. "Renewal is in one year, Mr. Ibarra. In person." "That is a long time." "There is also," I hear myself say, "a noise complaint form. If she thunders. You would have to come in weekly." He signs. He is smiling at his shoes. "She thunders constantly," he says.

What it is for: A longer urban-magic meet-cute across a permit counter. Trains sustaining a scene: a rule-following clerk, a hopeful applicant, and a decision made in silence.
Coach's note: Watch out for playing her as charmed from the start. She is doing her job until the cloud rains on her hand. The turn is 'Eleven years I have followed section nine', and then 'dog' is dry as paper. The noise-complaint offer should surprise her as she says it.
What casting listens for: Casting listens for pacing over ninety seconds: whether you can hold a slow build and still land the small jokes.

Meeting the Pack

Werewolf, meet the familyAdult (25-40)Neutral AmericanOne narrator90 secondsabout 1.7 min
Nobody tells you how to meet your girlfriend's family when the family is a wolf pack. I brought wine. I should have brought a steak, or possibly a lawyer. There were nineteen of them around the table, and every one stopped chewing when I walked in. "Everyone," said Tamsin, "this is Oliver. He is a dental hygienist. Be normal." "He smells like mint," said a small cousin. "Thank you," I said. "It was not a compliment," said her grandfather. Tamsin squeezed my knee under the table, which helped, and her father watched her do it, which did not. "So, Oliver." "What are your intentions? In my day, a suitor ran the ridge at midnight and brought back a stag." "I have a gym membership," I said. "I mostly use the sauna." A fork clinked. When I am scared, I tell the truth. It is all I have. "My intentions are to be wherever she is," I said. "I am allergic to most of the outdoors. But she laughs with her whole face, and I would like to be the reason, for as long as she will let me. Also, I can get all of you a very good deal on cleanings." Then the grandfather laughed. One bark, like a door slamming. Her father put down his knife and looked at me properly for the first time. "Tamsin," he said. "Get the boy a real plate." She had not let go of my knee. She was looking at me as if I had brought back the stag.

What it is for: A human boyfriend at a werewolf family dinner. Trains a nervous, funny male narrator with several quick supporting voices and one honest speech.
Coach's note: Watch out for playing the speech as a joke or as a grand declaration. He is scared and plain. The turn is 'My intentions are to be wherever she is'. Keep the father low and slow so the laugh from the grandfather can break the room.
What casting listens for: Casting listens for how you handle a crowded table: father, grandfather, cousin and Tamsin should each be findable with a small shift.

Three Hundred Years and One Umbrella

Grumpy immortal, slow burnAdult (25-40)IrishOne narrator90 secondsabout 1.7 min
He had been walking the same stretch of river every evening for three hundred years, and in all that time nobody had ever offered him half an umbrella. "I do not mind the wet," Ambrose said. "You are soaked through. Come in under, will you." He hesitated, the way a man does at the door of a house he has not been invited into. Then he stepped in, and the rain closed around us like a curtain. "Niamh. I have told you what I am." "You have. You are very gloomy about it." "I will not age. You will. I buried her in 1794. I am telling you it does not end well." "Nothing ends well, Ambrose. That is what ending means." My hand was shaking on the handle, so he put his over it. His fingers were cold. They did not stay cold. "I am not asking you for forever. I would not know what to do with it. I am asking you for Thursday." "Thursday." "There is music on at Doolan's. You would hate it. Fiddles." He laughed. Then he bent his head, slowly, giving me all the time in the world to step back. I did not step back. It was a short kiss. It tasted of rain. And when it was over, the oldest man in Ireland looked at me as though he was the one who had just been given a little more time. "Thursday," he said. "I will bring my own umbrella." "Do not," I said.

What it is for: The emotional showpiece of the set: an immortal who has loved and lost, and a woman who asks only for Thursday. Trains a slow scene that ends in a kiss, with humor keeping it from going heavy.
Coach's note: Watch out for playing it mournful from the top. She is teasing him out of the rain, and the grief arrives with '1794'. The turn is 'I am asking you for Thursday'. The kiss is three short sentences; do not decorate them.
What casting listens for: Casting listens for a soft Irish voice that stays conversational, and for a kiss scene read with warmth and no heat.

The Demon Reads to the Seniors

Demon, community serviceAdult (40-55)Neutral AmericanOne narrator90 secondsabout 1.7 min
The demon Sorrowgast was assigned to the Willowmere Rest Home for crimes against three archdukes, and by his second week the residents had him reading mysteries aloud. He did all the voices. The murderers especially. "You skipped a page," said Mrs. Abiodun, ninety-four. "The page was dull." "I will decide what is dull, young man." He was eleven thousand years old. He turned back the page. From the doorway, Grace watched. Grace ran the place on four hours of sleep and a budget held together with tape. Afterward he stacked the chairs. Nobody had asked him to. "You stayed late again," she said. "The detective had not yet gathered the suspects. It would have been cruel." "Sorrowgast. You are allowed to like it here." He put down the chair. He had a poor face for lying. It showed everything, like a lamp. "I am not allowed. Each month they ask if I have suffered. If they learn I look forward to Tuesdays, they will find me something worse." Grace thought about it. She picked up the sign-in sheet, and under Comments, she wrote: Complains constantly. Hates every minute. "That is a lie," he said softly. "You lied for me." "I rounded." She held out her hand for the last chair. He gave her, instead, his own hand, clawed and enormous and very careful. She did not let go of it. He had four hundred Tuesdays left, and for the first time in eleven thousand years, that did not seem like enough.

What it is for: A demon serving his sentence at a rest home, and the tired woman who signs for him. Trains tender third-person narration with comedy at the edges and a small act of grace at the centre.
Coach's note: Watch out for rushing what Grace writes on the sheet. It is the whole scene. Give 'Complains constantly. Hates every minute.' a flat, clerical read. The turn is 'You are allowed to like it here', and the last line needs room.
What casting listens for: Casting listens for whether you can let a quiet ending stay quiet. No swell, no sigh, just the thought.

Questions

How do I voice a vampire or werewolf lead?

Play the person, not the monster. Give them one clear quality, like stillness or warmth, and skip the spooky voice.

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.

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