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Christmas character voice scripts

105 over-the-top Christmas character scripts written by us, free to practice with, record and post. Fifteen holiday voices, seven scripts each.

Fifteen characters, seven scripts each. Every script puts a big holiday voice in an ordinary ad, so Santa reviews your chimney and a fruitcake tries a dating app. Use the Type filter to pick one character and work the same voice through all seven. Most are 15 seconds, which is the right size for a short video.

Santa Has Seen Your Chimney

Santa ClausMature (55+)Any (character choice)One narrator15 secondsabout 16s
I have been down a great many chimneys. Billions. And I will be honest with you. Some of you have not cleaned yours since the eighties. Flueworthy Chimney Care. Swept, inspected, done in an hour. Flueworthy. Do it for the suit.

Direction: Big, warm, booming Santa; low and round, twinkling, a busy boss giving friendly feedback
What it is for: Keeping a huge, warm character voice while a gentle complaint and a list of services stay clear.
Coach's note: Watch out for pushing the boom from your throat. Send the big sound up from your belly and keep your jaw loose, and 'swept, inspected, done in an hour' needs three clean beats. The turn is the quiet, personal 'Do it for the suit.'
What casting listens for: Casting listens for warmth that never turns into shouting, and a brand name that survives the big voice.

Ninety Percent Cookies

Santa ClausMature (55+)Any (character choice)One narrator15 secondsabout 18s
Ho ho ho! You hear that laugh? That laugh is ninety percent cookies. A plate at every house, and I finish every one. It's only polite. Ironpine Gym. January memberships, nineteen dollars a month. Ironpine. I start Monday. Mrs. Claus has it in writing.

Direction: Booming, jolly Santa with a real belly laugh up top, then a cheerful man making a January promise
What it is for: Starting on a full laugh and landing straight into clear copy without losing breath.
Coach's note: Watch out for laughing from the throat. A real belly laugh starts at the diaphragm, so breathe low before 'Ho ho ho' and you will still have air for the price. Keep 'nineteen dollars a month' unhurried. The turn is the slightly nervous 'Mrs. Claus has it in writing.'
What casting listens for: Casting listens for a laugh that sounds real and a price that is still easy to catch right after it.

Santa Missed Ohio

Santa ClausMature (55+)Any (character choice)One narrator15 secondsabout 15s
Dasher, left! Left! The other left! Friends, I visit every house on Earth in one night. And one year, I missed Ohio. All of it. Wayfinch navigation. Live rerouting. Rooftop view. Wayfinch. Ohio, I am so sorry.

Direction: Big, booming Santa shouting directions mid-flight, then warm and a little embarrassed to camera
What it is for: Switching from a shouted, in-the-moment line to a calm sell inside one short read.
Coach's note: Watch out for staying at flying volume the whole way. Call the first line out from your belly, not your throat, then come right down and talk to one person. 'Live rerouting. Rooftop view.' are two separate features. The turn is the small, sincere apology at the end.
What casting listens for: Casting listens for two clear levels, big and then close, with the same Santa in both.

Sorry, Nancy

Santa ClausMature (55+)Any (character choice)One narrator15 secondsabout 14s
[Squinting] I read my list twice. Not to be careful. I just can't see it anymore. Is that Naughty? Or is that Nancy? Squintley's reading glasses. Two pairs for thirty dollars. Squintley's. Sorry, Nancy.

Direction: Warm, rumbling Santa squinting at his own handwriting; slower and softer than usual, still twinkling
What it is for: Playing a physical action, squinting at a page, with nothing but your voice.
Coach's note: Watch out for rushing the squint. Give 'Is that Naughty' and 'or is that Nancy' their own beats, as if you are really holding the list at arm's length. Keep the deal clean. The turn is the gentle, guilty 'Sorry, Nancy.'
What casting listens for: Casting listens for a believable bit of business and a Santa who is charming even when he is wrong.

Do Not Wake Santa

Santa ClausMature (55+)Any (character choice)One narrator15 secondsabout 15s
Shh. It is December twenty-sixth. I have been to every house in the world. I am going to bed until March. Driftmoor Mattress. Cool foam. Firm edges. Room for a beard. Driftmoor. Hundred-night trial. I used every one.

Direction: Santa on December twenty-sixth; the same big warm voice turned right down, sleepy, blissful and not to be disturbed
What it is for: Keeping a big character recognisable at very low volume and energy.
Coach's note: Watch out for going so sleepy the words disappear. Keep the tip of the tongue working on 'Cool foam. Firm edges' even at a murmur, and stay supported so the low voice doesn't turn to gravel. The turn is the proud, drowsy 'I used every one.'
What casting listens for: Casting listens for the same Santa at a whisper, with the offer still clear.

Santa Will Not Move Your Couch

Santa ClausMature (55+)Any (character choice)One narrator30 secondsabout 36s
[Belly laugh] Friends, I deliver to every house in the world in one night. With reindeer. And no forklift. So believe me when I say this. I will not help you move your couch. I love you. I do. But I have seen your staircase. Call Haulwright Movers. Two trucks. Four strong people. Every box labeled. They wrap the lamp. They find the screws. And they use the front door, like professionals. Haulwright Movers. Free quotes all week. Tell them Santa sent you. They won't believe you. Tell them anyway.

Direction: Booming, generous Santa, the proud head of a very large delivery operation, cheerfully saying no to a favor
What it is for: Sustaining a big, warm character through thirty seconds of selling copy while keeping each service distinct.
Coach's note: Watch out for booming every line at the same size. Save the full belly laugh, from the diaphragm, for the top, then bring it down to a friendly chat for the services so 'They wrap the lamp. They find the screws.' land as small, fond details. The turn is the shrug of 'Tell them anyway.'
What casting listens for: Casting listens for a boss who loves his work, variety inside the big voice and a clean offer.

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The World's Leading Authority

Santa ClausMature (55+)Any (character choice)One narrator30 secondsabout 34s
Good evening. I am the world's leading authority on cookies left on a plate. I have had the oatmeal raisin pretending to be chocolate chip. I have had the one the dog got to first. I ate it. I am a professional. And in all my years, only one cookie has made me sit down on a stranger's couch and take a moment. Hearthcrumb. Real butter. Soft in the middle. Baked this morning. Hearthcrumb Cookies. Leave two on the plate. Leave three. It's a long night.

Direction: Santa as a grand, warm expert witness on cookies; deep, unhurried, savoring every word, with a chuckle underneath
What it is for: Storytelling in character: building a list of small memories toward one sincere recommendation.
Coach's note: Watch out for chuckling through every line. Play the expert straight and let the laugh sit under the voice rather than on top of the words. Slow right down for 'Real butter. Soft in the middle.' The turn is the change of mind, 'Leave three.'
What casting listens for: Casting listens for a storyteller who makes each cookie different and makes the product sound delicious.

The Other Three Hundred and Sixty-Four

Mrs. ClausMature (55+)Any (character choice)One narrator15 secondsabout 14s
My husband works one night a year. I work the other three hundred and sixty-four. Daybinder. The family planner app. Shared calendars. Reminders. Color coding. Daybinder. He thinks the sleigh packs itself. Bless him.

Direction: Bright, brisk Mrs. Claus; warm mid-range voice, crisp and efficient, a kind woman who is completely in charge
What it is for: A dry, understated character read where the humor comes from calm, not volume.
Coach's note: Watch out for playing her as sweet and fluffy. She is kind, but she is the boss, so keep the pace brisk and the ends of lines firm. Count out 'Shared calendars. Reminders. Color coding.' as three ticks on a list. The turn is the fond, dry 'Bless him.'
What casting listens for: Casting listens for dry wit with real affection under it, and features that sound useful.

What Soot Does to Velvet

Mrs. ClausMature (55+)Any (character choice)One narrator15 secondsabout 14s
One red velvet suit. Every chimney in the world. Guess who does the laundry. Suddlewick detergent. It lifts soot, cocoa and reindeer. Don't ask. Suddlewick. Cold wash. Hang dry. He never knew how close it was.

Direction: Brisk, bright Mrs. Claus with a raised eyebrow in her voice; practical, unbothered, a little conspiratorial
What it is for: Landing a throwaway aside without stopping the sell.
Coach's note: Watch out for leaning on the aside. 'Don't ask' should be quick and light, then straight back to business. Keep 'Suddlewick' crisp on the D and the K. The turn is the confidential 'He never knew how close it was.'
What casting listens for: Casting listens for an aside that feels thrown away and a product name that stays clear.

Four in the Morning, December Twenty-Fourth

Mrs. ClausMature (55+)Any (character choice)One narrator15 secondsabout 16s
It is four in the morning on December twenty-fourth. The reindeer are arguing. An elf is crying. My husband cannot find the sleigh keys. I am fine. I have Kettlepost Coffee. Kettlepost. Dark roast. Now. Who has the keys?

Direction: Calm, crisp Mrs. Claus in the middle of chaos; steady, bright and perfectly composed, cup in hand
What it is for: Staying completely calm while describing chaos, so the contrast does the comedy.
Coach's note: Watch out for getting louder as the list of disasters builds. Do the opposite: each problem a touch calmer than the last, and 'I am fine' the calmest of all. The turn is the snap back to command on 'Now. Who has the keys?'
What casting listens for: Casting listens for control, a clear picture of the scene and a tag with authority.

A Place for Everything

Mrs. ClausMature (55+)Any (character choice)One narrator15 secondsabout 15s
One warehouse. A toy for every child in the world. And I know where every single one is. Lidmore storage bins. Clear sides. Lids that click. Labels included. Lidmore. A place for everything. Dear, that includes your boots.

Direction: Brisk, bright and quietly proud Mrs. Claus; tidy diction, the voice of someone who has labeled everything
What it is for: Clean, precise feature copy delivered in character.
Coach's note: Watch out for blurring the three features together. 'Clear sides. Lids that click. Labels included.' are three small satisfactions, so give each one its own little smile. The turn is the pointed, loving 'Dear, that includes your boots.'
What casting listens for: Casting listens for precision and a final line aimed at one specific person.

Me or the Spoon

Mrs. ClausMature (55+)Any (character choice)One narrator15 secondsabout 16s
People ask, Mrs. Claus, what's your secret? My secret is forty dozen cookies a day and a Whiskby stand mixer. Ten speeds. Steel bowl. It does not get tired. Whiskby. I retired the wooden spoon. It was me or the spoon.

Direction: Warm, brisk Mrs. Claus; friendly, matter-of-fact and dry, as if answering a question she gets every single day
What it is for: Answering an imagined question naturally, then selling with numbers.
Coach's note: Watch out for making 'what's your secret' sound like a speech. Toss it off the way people really quote a question they are tired of. Keep 'forty dozen' and 'Ten speeds' clear. The turn is the deadpan 'It was me or the spoon.'
What casting listens for: Casting listens for a natural, conversational start and a dry button with no wink.

Before He Says It's Fine

Mrs. ClausMature (55+)Any (character choice)One narrator30 secondsabout 34s
Every year, he says the sleigh is fine. Every year, the sleigh is making a noise. I don't wait for him anymore. I call Gearhaven Auto Care. Oil, brakes, battery, tires. All checked while you wait. They show you the problem before they fix it. They tell you the price before they start. No surprises. I have had enough surprises. I married a man who comes home through the chimney. Gearhaven Auto Care. Winter check, forty-nine dollars. Book it before he says it's fine.

Direction: Brisk, bright, no-nonsense Mrs. Claus; warm but firm, a woman who has stopped waiting for permission
What it is for: Holding a dry, in-charge character for thirty seconds while delivering trust copy: what they check and how they charge.
Coach's note: Watch out for rattling through the service list because the character is brisk. Brisk is not rushed: 'Oil, brakes, battery, tires' gets four clear beats. Let 'I have had enough surprises' sit before the reason. The turn is the tag, 'Book it before he says it's fine.'
What casting listens for: Casting listens for authority you would trust with your car and jokes that are underplayed.

Somewhere with Sand

Mrs. ClausMature (55+)Any (character choice)One narrator30 secondsabout 35s
On December twenty-sixth, I leave. I have earned it. I live at the North Pole. It is cold. It is dark. Everything is striped. So every January, I call Palmreach Travel, and I say three words. Somewhere with sand. They book the flights. The hotel. The little boat. All I pack is a hat. He is welcome to come. He never does. He says he burns. Palmreach Travel. January beach packages from six ninety-nine. No snow. No bells. And nobody under four feet tall asking me for tape.

Direction: Bright, brisk Mrs. Claus who relaxes as she goes; crisp at the top, then warmer and slower as she pictures the beach
What it is for: Letting a character soften across a read without losing who she is.
Coach's note: Watch out for staying clipped all the way through. Let the pace ease from 'Somewhere with sand' onward so we hear her shoulders drop. Keep 'six ninety-nine' clear. The turn is the last line, where the list of things she is escaping gets very specific.
What casting listens for: Casting listens for a gradual change of temperature and a dry finish that still sounds fond.

Yes, It Glows

Lead reindeerAdult (40-55)Any (character choice)One narrator15 secondsabout 14s
Yes. It glows. No. I don't know why. No. You can't touch it. You want something bright? Buy a flashlight. Beamcroft. Two thousand lumens. Waterproof. Rechargeable. Beamcroft. Brighter than me. Finally. Somebody else's problem.

Direction: Blitz, the lead reindeer: low, gravelly, flat and unimpressed; a tired veteran flyer who has answered this question too many times
What it is for: A gruff, deadpan character whose comedy comes from short answers and held pauses.
Coach's note: Watch out for grinding the gravel in your throat. Get the roughness from a relaxed, low placement with plenty of breath behind it. Each of the first three answers is its own flat little wall. Keep 'Two thousand lumens' clear. The turn is the relieved 'Finally. Somebody else's problem.'
What casting listens for: Casting listens for deadpan timing and a rough voice that stays easy to understand.

Front of the Line

Lead reindeerAdult (40-55)Any (character choice)One narrator15 secondsabout 14s
Forty winters pulling a loaded sleigh. Front of the line. Guess whose back that is. Alderspine Chiropractic. They fixed my neck in two visits. Alderspine. First adjustment, thirty-nine dollars. Santa's not paying. I asked.

Direction: Blitz, the lead reindeer: gruff, gravelly old pro; grumbling about his back, grudgingly impressed
What it is for: Giving a testimonial in character so that it still sounds like honest praise.
Coach's note: Watch out for grumbling straight through the good news. He is gruff, but 'They fixed my neck in two visits' is real praise from someone who rarely gives any, so let it warm by one degree. The turn is the dry 'Santa's not paying. I asked.'
What casting listens for: Casting listens for a believable recommendation from a hard-to-please character.

You Have a Windshield

Lead reindeerAdult (40-55)Any (character choice)One narrator15 secondsabout 15s
Every year, I fly through a blizzard. Face first. Eyes open. And you're scraping your windshield with a spatula. Come on. Clearhoof de-icer spray. Ten seconds. Ice gone. Clearhoof. I don't get a windshield. You do. Use it.

Direction: Blitz, the lead reindeer: gruff, low, seen-it-all; a veteran flyer with no patience for people who have it easy
What it is for: Scolding the listener in a way that stays funny and likable.
Coach's note: Watch out for sounding truly annoyed with the customer. Keep a tired half-smile under 'Come on' so it plays as a coach, not a bully, and keep the growl out of your throat. The turn is the blunt, envious 'You do. Use it.'
What casting listens for: Casting listens for attitude with charm, and a product claim delivered plainly.

One Carrot

Lead reindeerAdult (40-55)Any (character choice)One narrator15 secondsabout 16s
Kid. I appreciate the carrot. I do. But there's a whole team out here. And you left one. Do the math. Greenbarrow grocery delivery. Fresh produce at your door in an hour. Greenbarrow. Get the big bag. Vixen doesn't share.

Direction: Blitz, the lead reindeer: gruff and gravelly but trying to be nice about it; a tough old flyer talking to a small child
What it is for: Softening a rough character for a gentle moment without dropping the voice.
Coach's note: Watch out for losing the character when he gets kind. The gravel stays, only the volume and the speed come down for 'Kid, I appreciate the carrot.' Then 'Do the math' is back to business. The turn is the flat warning, 'Vixen doesn't share.'
What casting listens for: Casting listens for a soft side that is still clearly the same gruff character.

Yours Is the Soft One

Lead reindeerAdult (40-55)Any (character choice)One narrator15 secondsabout 15s
I have landed on every roof in this town. Yours is the soft one. Yeah. By the chimney. I felt it. Stagline Roofing. Free inspection. Shingles, gutters, flashing. Stagline. Fix it by December. I'm not a small animal.

Direction: Blitz, the lead reindeer: low, dry, gravelly; a professional giving you bad news about your house
What it is for: Delivering a serious-sounding warning with a straight face so the joke lands on its own.
Coach's note: Watch out for winking at the joke. He is completely serious about your roof, so play it like an inspector reading a report. 'Shingles, gutters, flashing' needs clean consonants through the gravel. The turn is the understated 'I'm not a small animal.'
What casting listens for: Casting listens for a straight-faced read and a list that stays crisp.

This Is Your Lead Reindeer Speaking

Lead reindeerAdult (40-55)Any (character choice)One narrator30 secondsabout 34s
Folks, this is your lead reindeer speaking. I've been flying since before your pilot was born. No seat. No snack. No roof. Backwards, once. Long story. So when I say Northlark Airlines is a nice way to fly, I know what I'm talking about. Wide seats. Free bags. A warm cookie at takeoff. They gave me a blanket. Nobody ever gave me a blanket. Northlark Airlines. Fares from eighty-nine dollars. And before you ask. Yes. It glows. No. It is not a reading light.

Direction: Blitz, the lead reindeer: gruff, gravelly veteran doing a dry cabin announcement, then quietly touched about a blanket
What it is for: Sustaining a rough-textured voice for thirty seconds and finding one soft moment in the middle.
Coach's note: Watch out for running out of voice by the tag. Thirty seconds of gravel needs low breath and a relaxed throat, so ease off the rasp on the feature lines. Let 'Nobody ever gave me a blanket' be small and true. The turn is the weary last answer about the nose.
What casting listens for: Casting listens for stamina, a real moment of feeling, and a fare you can hear clearly.

Forty Bells

Lead reindeerAdult (40-55)Any (character choice)One narrator30 secondsabout 33s
You like sleigh bells? That's nice. Try standing in front of forty of them. For eleven hours. Jingle. Jingle. Jingle. Over the ocean. Jingle. I hear them in my sleep. Then Cupid got me a pair of Quietfell headphones. Noise cancelling. Thirty hours of battery. Soft on the ears. Or in my case, the antlers. I put them on. And for the first time in forty years. Nothing. Beautiful. Quietfell headphones. One forty-nine. Free shipping. What? I can't hear you. That's the point.

Direction: Blitz, the lead reindeer: gravelly and worn out at the top, then low, slow and blissful once the headphones go on
What it is for: Playing irritation, then relief, then a deaf-to-the-world button, all inside one gruff character.
Coach's note: Watch out for making every 'Jingle' the same. Each one should be a little more worn down than the last. Leave real silence after 'for the first time in forty years' before 'Nothing.' The turn is the too-loud 'What? I can't hear you.'
What casting listens for: Casting listens for a clear journey from fed up to peaceful and a comic button played straight.

Eleven Minutes Ago

Workshop elfAnyAny (character choice)One narrator15 secondsabout 16s
Hi! Pip! Quality control! I have tested six hundred toys since breakfast! Breakfast was eleven minutes ago! How? Zoomwick cold brew! Smooth! Strong! Ready to pour! Zoomwick! I haven't blinked since Tuesday! [Calm, normal voice] Also available in decaf. I'm told.

Direction: Pip the workshop elf: small, high, bright and very fast; a proud quality-control inspector who has had far too much coffee
What it is for: Fast, high-energy patter that stays clean, with a sudden gear change at the end.
Coach's note: Watch out for squeezing your throat to get the high voice. Lift it with a smile and forward placement, and keep the consonants crisp so 'six hundred toys' doesn't smear at speed. The turn is the drop to a calm, normal 'Also available in decaf.'
What casting listens for: Casting listens for speed with every word intact and a sharp, controlled change of pace.

Nine Miles of Tape

Workshop elfAnyAny (character choice)One narrator15 secondsabout 17s
Tape! I use nine miles a day! I have tested them all! This one peels! This one tears crooked! This one stuck to Gary, and we lost the whole afternoon! Gripwick packing tape! Strong! Straight! Quiet! Gripwick! Gary's fine, by the way. Mostly.

Direction: Pip the workshop elf: tiny, quick and high-pitched; an expert giving a rapid product review at the bench
What it is for: Rapid-fire short sentences where each one has to carry a different opinion.
Coach's note: Watch out for hitting every exclamation at the same pitch. 'This one peels', 'This one tears crooked' and the Gary line are three different complaints, so color each one. Crisp T's and P's keep the speed readable. The turn is the slower, guilty 'Mostly.'
What casting listens for: Casting listens for variety at speed and a button with good comic timing.

The Bell Stays

Workshop elfAnyAny (character choice)One narrator15 secondsabout 17s
Arches! I have them! Tiny ones! And they hurt! Eighteen hours at the bench in pointy shoes with a bell on! Then I got Footwick insoles! Cushioned! Trim to fit! Any shoe! Even pointy! Footwick! [Flat, official] The bell stays. Union rules.

Direction: Pip the workshop elf: small, speedy and squeaky; indignant about sore feet, then thrilled, then briefly official
What it is for: Three quick moods in fifteen seconds: complaint, delight and a flat official line.
Coach's note: Watch out for running out of air on the long complaint. Take a quick low breath after 'And they hurt!' and keep the high voice light instead of pinched. 'Cushioned! Trim to fit! Any shoe!' are three separate wins. The turn is the deadpan 'The bell stays. Union rules.'
What casting listens for: Casting listens for breath control at speed and a clean switch into the deadpan.

Tested by an Elf

Workshop elfAnyAny (character choice)One narrator15 secondsabout 16s
Quality control checklist! Does it spin? Yes! Does it stop? Yes! Does it scare Gary? A little! Approved! The Boltwren twenty-volt cordless drill! Two batteries! Carrying case! Boltwren! Tested by an elf. A very thorough elf. Me. It was me.

Direction: Pip the workshop elf: high, fast and proud; rattling through an inspection checklist with a clipboard
What it is for: Question-and-answer patter with yourself, kept tight and musical.
Coach's note: Watch out for letting the questions and answers blur into one line. Lift on each question, land on each 'Yes!', and keep a tiny gap between them. Say 'twenty-volt' carefully at speed. The turn is the shrinking confession, 'Me. It was me.'
What casting listens for: Casting listens for rhythm, clear product details and a likable little ego.

So Much to Say

Workshop elfAnyAny (character choice)One narrator15 secondsabout 17s
Unlimited talk! Good! Because I talk! A lot! My last phone plan gave up in March! Chatterby Mobile! Unlimited talk, text and data! Thirty dollars a month! Chatterby! [Slow, sincere] I have so much to say. [Fast again] And now I can!

Direction: Pip the workshop elf: tiny, high and breathless; a non-stop talker who slows down exactly once
What it is for: Dropping from top speed to slow and sincere, then snapping back, without losing the character.
Coach's note: Watch out for staying fast through the sincere line. 'I have so much to say' should be slow, small and completely honest, which is what makes the snap back funny. Keep 'thirty dollars a month' clear even at full speed. The turn is that one slow line.
What casting listens for: Casting listens for a real change of tempo and a price that is not lost in the rush.

Test Three

Workshop elfAnyAny (character choice)One narrator30 secondsabout 29s
Quality control! Pip! Station nine! Today's item is the Nodfield memory foam pillow! Test one! Squish! It bounces back! Test two! Flip it! Cool on both sides! Test three! Head on the pillow! Head is on the pillow! And. Oh. Oh, that's nice. That's very nice. I haven't stopped moving since nineteen ninety. [Yawn] The Nodfield pillow. Thirty-nine dollars. Two for sixty. [Snore] [Bolts awake] Approved! It's approved! Nobody tell Mrs. Claus!

Direction: Pip the workshop elf: high and frantic at the top, then slower and slower as the pillow wins, then wide awake again
What it is for: A full tempo journey in one character: flat-out patter, a gradual slide into sleep, and a sudden jolt back.
Coach's note: Watch out for dropping off a cliff into sleepy. Slow down one line at a time from 'And' onward, and let the pitch sink a little with the speed, without letting the high voice fall into your throat. The price lines are mumbled but must still be understood. The turn is the bolt awake on 'Approved!'
What casting listens for: Casting listens for a controlled slowdown, a price we still catch, and a big clean recovery.

Four Screws Left Over

Workshop elfAnyAny (character choice)One narrator30 secondsabout 34s
Some assembly required! Three words! I love them! You hate them! I know you hate them, because I have seen your bookshelf! It leans! You had four screws left over! Where do they go? You don't know! I know! Call Allenby Assembly! Furniture! Bikes! Trampolines! The thing with nine hundred pieces and no words in the instructions! Built right, in your home, in under an hour! Allenby Assembly! Flat rate, fifty-nine dollars! [Slow, kind] Put the leftover screws down. It's okay. We've got it from here.

Direction: Pip the workshop elf: quick, high and gleeful; a tiny expert who loves the job you hate, then unexpectedly gentle
What it is for: Sustaining fast, bright patter for thirty seconds and finishing on a slow, kind line.
Coach's note: Watch out for sprinting until you gasp. Mark your breaths after 'I love them!' and after 'I know!', and let crisp consonants do the work that volume would. The turn is the slow, kind 'Put the leftover screws down.'
What casting listens for: Casting listens for stamina, clarity through a long list and real warmth on the last line.

Fifty-One and Sunny

SnowmanAnyAny (character choice)One narrator15 secondsabout 12s
Hello. I check the forecast forty times a day. It isn't a hobby. Cloudberry Weather. Hourly updates. Ten-day outlook. Alerts. Cloudberry. Thursday says fifty-one and sunny. Oh. Well. It's been lovely.

Direction: A cheerful, slow, gentle snowman; soft and round, smiling, with a small worry about the forecast underneath
What it is for: A slow, gentle character read that stays alive and interesting at low speed.
Coach's note: Watch out for letting slow turn into sleepy. Keep a smile and a thought behind every line so the pauses feel like thinking. 'Hourly updates. Ten-day outlook. Alerts.' stay tidy. The turn is the tiny 'Oh' when he reads Thursday.
What casting listens for: Casting listens for charm at a slow pace and a small, honest reaction.

Please Set It to Thirty-One

SnowmanAnyAny (character choice)One narrator15 secondsabout 17s
Hello. I'm a snowman. I would like to talk to you about air conditioning. I would like to talk about it very much. Polarbrook Cooling. Installed in one day. Quiet. Efficient. Polarbrook. Please set it to thirty-one. I'll bring my own scarf.

Direction: A gentle, slow, cheerful snowman being very polite about something that matters to him a great deal
What it is for: Playing high stakes very quietly, with politeness instead of volume.
Coach's note: Watch out for pushing the urgency. He never raises his voice, so the need shows only in the careful repeat, 'I would like to talk about it very much.' Keep 'Installed in one day' plain and clear. The turn is the hopeful request, 'Please set it to thirty-one.'
What casting listens for: Casting listens for subtext under a sweet voice and a clean service line.

Well. Sticks.

SnowmanAnyAny (character choice)One narrator15 secondsabout 17s
Hello. Do you like my scarf? Thank you. It's the only thing I'm wearing. So it has to be a good one. Burrowby Knits. Soft wool scarves. Twelve colors. Burrowby. I'd buy the mittens too. But. [Looks at his arms] Well. Sticks.

Direction: A cheerful, slow, soft-spoken snowman; friendly and a little shy, proud of his one item of clothing
What it is for: Building a joke out of pauses and a small physical realisation.
Coach's note: Watch out for hurrying the ending. 'But.' needs a real look down at the stick arms before 'Well. Sticks.' Give 'Twelve colors' a little pride. The turn is that look.
What casting listens for: Casting listens for patience with silence and a warm, unforced button.

I'll Know

SnowmanAnyAny (character choice)One narrator15 secondsabout 16s
Hello. I've been standing on your lawn since Tuesday. I'm not judging. But I am down here. And it's patchy. Greenmantle Lawn Care. Seeding, feeding, edging. Greenmantle. Book now for spring. I won't be here to see it. But I'll know.

Direction: A gentle, slow, kindly snowman giving very tactful feedback from where he stands on your lawn
What it is for: Delivering criticism so politely that it becomes funny.
Coach's note: Watch out for sounding sarcastic. He means every kind word, so keep 'I'm not judging' sincere and let 'it's patchy' come out almost as an apology. 'Seeding, feeding, edging' gets three even beats. The turn is the calm, slightly haunting 'But I'll know.'
What casting listens for: Casting listens for sincerity, gentle timing and a last line that lands softly.

The Wrong Spokesman

SnowmanAnyAny (character choice)One narrator15 secondsabout 17s
Hello. They've asked me to tell you about Steamhollow Hot Tubs. One hundred and four degrees. Forty jets. Seats six. I'd like to be honest. It sounds terrible. Steamhollow Hot Tubs. You will love it. I'll be over here. Far over here.

Direction: A cheerful, slow, gentle snowman doing his honest best to advertise something that frightens him
What it is for: Reading selling copy while the character quietly disagrees with it.
Coach's note: Watch out for mocking the product. He is trying hard to be a good spokesman, so the numbers are read carefully and a little faintly, as if each one is worse news. Hold the pause before 'I'd like to be honest.' The turn is the retreat, 'Far over here.'
What casting listens for: Casting listens for a clear offer and a character whose feelings leak through anyway.

The Side with Both Buttons

SnowmanAnyAny (character choice)One narrator30 secondsabout 33s
Hello. I'll be quick. Well. I'm never quick. But I'll try. I was built on a Saturday. Two children, one dad, forty minutes. Best day of my life. Also the first. And nobody took a picture. So I called Lindenlight Portrait Studio. They came to the yard. They were very patient. They found my good side. It's the side with both buttons. Lindenlight Portrait Studio. Family sessions from seventy-five dollars. Book soon. I hear it's warming up on Friday. I'm sure it's fine.

Direction: A gentle, slow, cheerful snowman telling a small story about himself; soft, fond, with a flicker of worry at the end
What it is for: Sustaining a slow, warm character for thirty seconds while keeping the story moving.
Coach's note: Watch out for dragging. Slow is the character, not the read, so keep each thought connected to the next and save the longest pause for after 'Best day of my life.' The offer needs a slightly brighter, clearer gear. The turn is the brave little 'I'm sure it's fine.'
What casting listens for: Casting listens for storytelling, a gentle sense of humor and an offer that still sounds like an ad.

Since Eleven

SnowmanAnyAny (character choice)One narrator30 secondsabout 34s
Hello. I don't eat out very much. Soup is a risk. Cocoa is a risk. I once sat near a pizza oven and lost a button. But there is one place in town where I feel completely safe. Dapplewood Creamery. Thirty-two flavors. Everything kept at a lovely five degrees. They don't rush you. I can sit as long as I like. And I do. I've been here since eleven. Dapplewood Creamery. Two scoops, four dollars. Open all winter. Try the vanilla. I'm told we look alike.

Direction: A cheerful, slow, gentle snowman who has finally found somewhere he can relax; contented, unhurried, quietly delighted
What it is for: Moving a gentle character from mild worry to complete contentment across thirty seconds.
Coach's note: Watch out for playing it all at one level of pleasant. The first three lines carry a little worry, then everything loosens once he names the creamery. Keep 'Thirty-two flavors' and 'Two scoops, four dollars' clear and bright. The turn is the shy last line about the vanilla.
What casting listens for: Casting listens for a warm arc, clean numbers and a sweet, underplayed finish.

The Yeti Detangles

Abominable snowmanAnyAny (character choice)One narrator15 secondsabout 16s
[Low, rumbling growl] I am eleven feet tall. I am covered in fur. All of it tangles. Frostmane conditioner. Deep moisture. No knots. Smells like a pine forest, which is where I live. Frostmane. Um. Thank you for listening.

Direction: Enormous, rumbling, growly yeti; slow and deep, then shy and very polite about hair care
What it is for: Holding a huge, low character voice while the product lines stay easy to understand.
Coach's note: Watch out for scraping the growl out of your throat. Let it rumble on a full breath from your belly, loose and low, and keep 'Deep moisture. No knots.' clean. The turn is the small, bashful 'Um. Thank you for listening.'
What casting listens for: Casting listens for size and sweetness in the same voice, and a brand name that survives the rumble.

Cold Feet, Size Thirty

Abominable snowmanAnyAny (character choice)One narrator15 secondsabout 16s
Everyone thinks the abominable snowman loves the cold. [Small, embarrassed growl] I do not. My feet are freezing. They are also size thirty. The Emberfold heated blanket. Ten settings. Extra, extra, extra large. Emberfold. I am never leaving this cave.

Direction: Deep, rumbling yeti making a slightly embarrassed confession, then cosy and content
What it is for: Playing against what the audience expects from a big voice: a giant admitting something small.
Coach's note: Watch out for playing the confession as a joke. He means it, so say 'I do not' plainly and a little hurt. Keep the growl breathy and supported, never pressed. The turn is the snug, final 'I am never leaving this cave.'
What casting listens for: Casting listens for honesty inside a monster voice and three clearly different 'extra's.

Tall, Furry, Seeking Same

Abominable snowmanAnyAny (character choice)One narrator15 secondsabout 20s
[Low growl, then a shy little cough] Hello. I am tall. I like long walks above the tree line. I have been single for nine hundred years. On Kindlewink, I wrote an honest profile. Six people ran. One stayed. Kindlewink. Her name is Deborah. We are taking it slow.

Direction: Gigantic, gravelly yeti who is painfully shy; low and halting, warming up as he goes
What it is for: Keeping a deep character voice alive through short, nervous sentences without losing the size.
Coach's note: Watch out for letting the shyness turn into a mumble. He is quiet, not unclear, so finish every word. Keep the low notes easy with plenty of air. The turn is the proud, careful 'We are taking it slow.'
What casting listens for: Casting listens for a character you root for in five seconds and a brand name said twice the same way.

Sorry, That Was Loud

Abominable snowmanAnyAny (character choice)One narrator15 secondsabout 15s
[Enormous roar] Who dares leave snow on this driveway? Sorry. That was loud. I get excited. Highdrift Snow Removal. Driveways, walkways, roofs. I do not need a ladder. Highdrift. Call before seven. I go to bed early.

Direction: Thunderous, roaring yeti for one line, then instantly soft, apologetic and helpful
What it is for: A full-size roar followed by an immediate drop to a gentle, normal sell.
Coach's note: Watch out for blowing out the mic and your voice on the roar. Turn slightly off-axis, power it from your belly and keep your throat open, then come back on mic for the apology. The turn is 'Sorry. That was loud. I get excited.'
What casting listens for: Casting listens for a clean switch from monster to mild and a service list with daylight between the items.

Pockets at Last

Abominable snowmanAnyAny (character choice)One narrator15 secondsabout 17s
For a thousand years, I wore nothing. Not by choice. Nothing fit. [Pleased rumble] Then I found Longridge Big and Tall. Sleeves that reach my wrists. A scarf that goes around twice. Longridge. I have pockets now. I keep snacks in them.

Direction: Slow, rumbling yeti telling a sad story, then quietly thrilled about a shirt that fits
What it is for: Moving from deep, weary gloom to simple delight without the voice getting any smaller.
Coach's note: Watch out for staying gloomy all the way through. Let him lift on 'Then I found Longridge' so the features sound like gifts. Support the rumble with breath rather than gravel. The turn is the happy, private 'I keep snacks in them.'
What casting listens for: Casting listens for a mood change you can hear and real pleasure in a very ordinary detail.

Abominable Is a Strong Word

Abominable snowmanAnyAny (character choice)One narrator30 secondsabout 34s
[Low, rumbling growl] Villagers call me abominable. That word hurts. I have feelings. I also have very dry elbows. So once a month, I come down the mountain to Hushpine Day Spa. Hot stone massage. They use boulders. Cucumber on the eyes. They use two whole cucumbers. Nobody screams. Well. One person screamed. She was new. Now I am calm. I am soft. I am, frankly, glowing. Hushpine Day Spa. Gift cards available for the holidays. The robe does not fit me. I wear it anyway.

Direction: Vast, growly yeti who is sensitive and deeply into self-care; rumbling but serene, like a giant after a massage
What it is for: Sustaining a low, rough character voice for thirty seconds while staying relaxed and varied.
Coach's note: Watch out for pressing the growl for the whole half minute. Save the real rumble for the first line, then sit in an easy, breathy low voice and sip water between takes. Give each spa treatment its own color. The turn is the correction, 'Well. One person screamed. She was new.'
What casting listens for: Casting listens for a consistent character across thirty seconds, comic timing on the aside and a spa tag that still sounds inviting.

Please Wave Back

Abominable snowmanAnyAny (character choice)One narrator30 secondsabout 35s
Welcome to Glimmer Ridge Ski Resort. I will be your instructor. [Gentle growl] Please do not scream. The last class screamed. It set off a small avalanche. Nobody was hurt. I was embarrassed. Glimmer Ridge has forty-two trails, six lifts, and fresh powder every morning. I know. I sleep in it. Lessons for all ages. Hot cocoa in the lodge. I am not allowed in the lodge. I do not fit through the door. Glimmer Ridge. Lift tickets from fifty-nine dollars. I will wave. Please wave back.

Direction: Huge, rumbling yeti doing his best friendly welcome voice; gentle, careful and a little lonely
What it is for: A character read that has to carry real resort details: trails, lifts and a price.
Coach's note: Watch out for losing the numbers in the rumble. 'Forty-two trails, six lifts' and 'fifty-nine dollars' should be the clearest words in the spot, so lighten the growl there and lean on the consonants. The turn is the quiet 'I will wave. Please wave back.'
What casting listens for: Casting listens for warmth, a character that never drops and details a listener could repeat.

To the Penny

ScroogeMature (55+)Any (character choice)One narrator15 secondsabout 18s
Bah! Do you know what it costs to heat a counting house? I do. To the penny. Then my clerk installed a Hearthmiser smart thermostat. My bill went down. Down! I nearly smiled. Hearthmiser. Fine. The clerk may have a second lump of coal.

Direction: Pinched, sharp, miserly old man; thin and nasal, spitting his consonants, then grudgingly pleased
What it is for: A tight, older character voice that goes from outrage to reluctant approval in fifteen seconds.
Coach's note: Watch out for squeezing your throat to sound old. Keep the pinch in the front of the face, in the nose and the teeth, and leave the throat loose. Bite the T in 'To the penny'. The turn is the alarmed 'Down! I nearly smiled.'
What casting listens for: Casting listens for a miser you can picture at once and a product name that is easy to catch.

Humbug at the Checkout

ScroogeMature (55+)Any (character choice)One narrator15 secondsabout 17s
Six dollars for butter? Six? Bah! I have foreclosed on men for less. Then I walked into Farthing Lane Market. Butter, two ninety-nine. Bread, one fifty. I checked the receipt twice. Farthing Lane Market. I have no complaints. It is deeply upsetting.

Direction: Sharp, sour, tight-lipped miser reading price tags as personal insults, then stunned into honesty
What it is for: Reading prices clearly in character and letting the same numbers mean outrage, then wonder.
Coach's note: Watch out for barking every price the same way. 'Six dollars' is an insult and 'two ninety-nine' is a miracle, so let the pitch change. Keep the snarl forward on the lips, not ground in the throat. The turn is the miserable 'It is deeply upsetting.'
What casting listens for: Casting listens for crisp, believable prices and a comic low note at the end.

Scrooge Calls His Nephew

ScroogeMature (55+)Any (character choice)One narrator15 secondsabout 15s
Ninety dollars a month. For a telephone. Bah! I do not even like people. Tuppence Mobile. Unlimited talk and text. Fifteen dollars a month. No contract. Fifteen. Hm. Tuppence Mobile. I called my nephew. Do not tell anyone.

Direction: Thin, clipped, bad-tempered miser; quick and scornful, then very quiet and almost tender
What it is for: Dropping from a loud complaint to a tiny, private thought without losing the character.
Coach's note: Watch out for rushing past 'Fifteen. Hm.' That is where he changes his mind, so give it a full beat of silence on either side. Keep the offer lines dry and clear. The turn is the hushed 'Do not tell anyone.'
What casting listens for: Casting listens for a pause that does the acting and a soft ending that still sounds like the same man.

Slept Until Nine

ScroogeMature (55+)Any (character choice)One narrator15 secondsabout 17s
I have not slept well in years. Visitors. Do not ask. And a new mattress costs two thousand dollars? Humbug! Bedpost and Quill. Queen mattresses from three ninety-nine. Free delivery. Free. My favorite word. Bedpost and Quill. I slept until nine. Scandalous.

Direction: Tired, brittle, irritable old miser; dry and creaky, perking up sharply at the word 'free'
What it is for: Finding energy changes inside a small, tight voice: weary, furious, then greedy with delight.
Coach's note: Watch out for making him creaky by pushing vocal fry. A little dryness is plenty, and it should ride on breath so you can do ten takes. Let 'Free' be the brightest word in the spot. The turn is the appalled, delighted 'Scandalous.'
What casting listens for: Casting listens for three clear moods in fifteen seconds and a price said like a real mattress ad.

A Tree, for Money

ScroogeMature (55+)Any (character choice)One narrator15 secondsabout 18s
Eighty dollars. For a tree. Humbug! There are trees outside. They are free. I looked. [A long, pained sigh] Fir and Lantern Tree Farm. Any tree, thirty-five dollars. They tie it to the carriage for nothing. For nothing! Fir and Lantern. I bought two. Bah.

Direction: Sharp, scornful miser, each short sentence a separate complaint, then helplessly won over
What it is for: Landing a run of very short lines so each one is its own thought, not a list.
Coach's note: Watch out for running 'They are free. I looked.' together. Two separate beats, the second one smaller. Keep the bark placed forward so it stays crisp and does not tire you. The turn is the defeated 'I bought two. Bah.'
What casting listens for: Casting listens for timing on the short lines and a 'Bah' that now means the opposite of what it says.

I Invented Fees

ScroogeMature (55+)Any (character choice)One narrator30 secondsabout 34s
Bah! A fee to keep my own money in a bank? A monthly fee? I invented fees! So I marched down to Coinbridge Credit Union to shout at somebody. [Grudging] They were pleasant. I disliked that. Free checking. No monthly fee. No minimum balance. They gave me a pen. I did not have to steal it. I read the fine print. All of it. Twice. There was nothing in it. Nothing! Coinbridge Credit Union. Open an account by December twenty-fourth. I suppose. If you must. Bah.

Direction: Furious, pinched old moneylender on the warpath; fast and sharp, slowing to deep suspicion, ending grudging
What it is for: Sustaining an angry character across thirty seconds while the bank's offer stays plain and friendly.
Coach's note: Watch out for shouting the whole thing. Start hot, then get quieter and more suspicious as he finds nothing wrong, which is funnier and kinder to your voice. 'Free checking. No monthly fee. No minimum balance.' is three clean points. The turn is 'They were pleasant. I disliked that.'
What casting listens for: Casting listens for a build that goes somewhere, a clear deadline and a character who stays sour while the offer sounds good.

Dinner for Twelve, Friends for Three

ScroogeMature (55+)Any (character choice)One narrator30 secondsabout 34s
A Christmas dinner for twelve. I asked the price. I had to sit down. Three hundred dollars? For a bird and some potatoes? Bah! Humbug! I shall eat gruel, as usual. [A pause. Suspicious] Then my nephew mentioned Plum and Platter Catering. Roast turkey. Stuffing. Three sides. Pie. Dinner for twelve, ninety-nine dollars. Delivered hot. Ninety-nine. I did the sums four times. Plum and Platter. Order by December twentieth. I ordered for twelve. I only know three people. I may have to invite the clerk.

Direction: Dry, miserly old man doing sums out loud; outraged, then suspicious, then quietly a little lonely
What it is for: A character read that carries a menu, a price and a deadline, and ends on a real feeling.
Coach's note: Watch out for playing the last lines for a laugh only. 'I only know three people' is funny because he means it, so say it simply. Keep 'ninety-nine dollars' and 'December twentieth' crisp. The turn is 'Ninety-nine. I did the sums four times.'
What casting listens for: Casting listens for a clear menu list, an order-by date you can write down and a touch of heart under the humbug.

That Was Me

Jack FrostAdult (25-40)Any (character choice)One narrator15 secondsabout 16s
[A soft, pleased chuckle] Your pipes froze last night. Solid. Beautiful work. That was me. And then you called Thawright Plumbing. One hour. Fixed. Warm water everywhere. How dull. Thawright Plumbing. Twenty-four hour emergency service. I'll keep them busy.

Direction: Cool, sly, silky winter trickster; close to the mic, smiling, very pleased with himself
What it is for: A smooth, intimate character read where the smile does the work instead of volume.
Coach's note: Watch out for whispering until the words disappear. Silky is not breathy, so keep a core of tone under the hush and stay close to the mic rather than pushing air. The turn is the bored, disappointed 'How dull.'
What casting listens for: Casting listens for charm and mischief at low volume and an emergency line that is still clear.

My Finest Windshield

Jack FrostAdult (25-40)Any (character choice)One narrator15 secondsabout 16s
Good morning. I spent all night on your windshield. Ferns. Feathers. Little swirls. My finest work. And you... sprayed it. With Meltwick De-Icer. Gone in ten seconds. Ten seconds. I'm not hurt. Meltwick. In stores now. See you tomorrow night.

Direction: Silky, sly trickster as a wounded artist; light, airy and proud, then coolly offended
What it is for: Playing pride and injured dignity with a light touch, never getting heavy or loud.
Coach's note: Watch out for sulking so hard the product disappears. He is offended, but 'Gone in ten seconds' is still the selling point, so let it land clean. Keep the tone smooth and forward. The turn is 'And you... sprayed it.'
What casting listens for: Casting listens for a playful point of view, a well-timed pause and a brand that sounds like good news even when he hates it.

You're No Fun at All

Jack FrostAdult (25-40)Any (character choice)One narrator15 secondsabout 16s
Oh, I do love that corner by your house. A little ice. A little wobble. A little gasp. Delicious. But you bought Gripstone winter tires. And you just... drove. Straight. Calmly. Gripstone. Four tires, free installation. You're no fun at all.

Direction: Cool, purring winter trickster savoring every word, then flat with disappointment
What it is for: Using pace as the joke: slow and delicious at the top, then short and deflated.
Coach's note: Watch out for making all three 'A little' lines the same. Let each one get quieter and more delighted. Keep the purr easy and supported so it doesn't turn to fry. The turn is 'And you just... drove. Straight. Calmly.'
What casting listens for: Casting listens for relish in the language and a clean offer line dropped in without breaking character.

Two Scoops, Outside

Jack FrostAdult (25-40)Any (character choice)One narrator15 secondsabout 14s
Everyone else is selling you cocoa. Warm socks. Soup. Ugh. Snowdrop Creamery is open all winter. Forty flavors. Peppermint. Gingerbread. Something called brain freeze. Snowdrop Creamery. Finally, someone who understands me. Two scoops. Outside.

Direction: Silky, sly trickster who has finally found something he sincerely loves; cool, amused, then openly happy
What it is for: Letting a cool, detached character warm up into a real endorsement.
Coach's note: Watch out for keeping him aloof the whole way. This is the one time he is a fan, so let real pleasure in on 'Finally'. Say the flavors as if tasting them. The turn is the single disgusted 'Ugh.'
What casting listens for: Casting listens for a character with range: sly at the top, sincere by the tag.

I Still Have Your Ears

Jack FrostAdult (25-40)Any (character choice)One narrator15 secondsabout 16s
I chapped your lips on Monday. Cracked your knuckles Tuesday. Wednesday, I did your elbows. I was having a wonderful week. Then you found Balmwick. Shea butter. All-day moisture. Fits in a pocket. Balmwick. Fine. I still have your ears.

Direction: Smooth, mischievous winter trickster ticking off his week like a proud to-do list, then a sly parting shot
What it is for: A list read in character, where each item needs its own shape, plus a three-feature product line.
Coach's note: Watch out for reading the days of the week as a flat list. Monday is casual, Tuesday is pleased, Wednesday is showing off. Then keep 'Shea butter. All-day moisture. Fits in a pocket.' bright and separate. The turn is the grin on 'Fine. I still have your ears.'
What casting listens for: Casting listens for variety inside a list and a silky tone that stays easy on the ear.

Do Not Call Cinderbrook

Jack FrostAdult (25-40)Any (character choice)One narrator30 secondsabout 37s
[Silky, close to the mic] Hello. It's me. The draft under your door. The chill on the stairs. The reason you can see your breath in the kitchen. Your furnace is fifteen years old. I adore it. It lets me right in. So please. Whatever you do. Do not call Cinderbrook Heating. Do not book the sixty-nine dollar winter tune-up. Do not ask about same-day service. And do not, under any circumstances, let them change that filter. [Sigh] You're dialing. I can hear you dialing. Cinderbrook Heating. They're very good. I hate them.

Direction: Silky, close, conspiratorial trickster right in the listener's ear; charming, coaxing, then quietly beaten
What it is for: Selling by reverse psychology: every 'do not' has to make the offer sound better.
Coach's note: Watch out for getting quieter and quieter until the offer is lost. Stay close, but give 'sixty-nine dollar winter tune-up' and 'same-day service' full voice. Keep a little tone under the whisper to protect your throat. The turn is 'You're dialing. I can hear you dialing.'
What casting listens for: Casting listens for intimacy, control over thirty seconds and offer details that are clear in spite of him.

I'll Water Your Plants

Jack FrostAdult (25-40)Any (character choice)One narrator30 secondsabout 30s
I had such plans for you this January. Black ice on Monday. A burst pipe on Wednesday. Something special with your car door on Friday. And then I heard. You booked with Sunward Getaways. Seven nights. A beach. Flights included. From six ninety-nine a person. [Wounded] Eighty degrees. Sand. You'll hate it. You won't hate it. Sunward Getaways. Book by December thirty-first and kids fly free. Go on, then. I'll water your plants. With ice.

Direction: Cool, sly winter trickster who has been stood up; playful at the top, then wounded, then a good sport
What it is for: Carrying a travel offer with a price and a deadline while playing a small emotional journey.
Coach's note: Watch out for tossing away the offer because he dislikes it. 'From six ninety-nine a person' and 'December thirty-first' must be clear even through the sulk. The turn is the honest little 'You won't hate it.'
What casting listens for: Casting listens for charm with a change of heart in it and a booking deadline anyone could repeat.

At Ease, Eventually

NutcrackerAnyAny (character choice)One narrator15 secondsabout 14s
[Jaw clack] Attention! I have stood at attention since eighteen ninety-two. I cannot bend. I am made of wood! Bendwillow Yoga. Beginner classes. Heated studio. First week free. Bendwillow. Today, I touched my own knees. Dismissed!

Direction: Stiff, clipped wooden soldier barking every line at attention; formal, loud, with a jaw that clacks
What it is for: A rigid, staccato character voice that still gets a class offer across cleanly.
Coach's note: Watch out for barking from a tight jaw and a tight throat. The stiffness is in the rhythm, not your neck, so keep your shoulders down and punch the lines from your belly. The turn is the astonished 'Today, I touched my own knees.'
What casting listens for: Casting listens for precision, a rhythm that never loosens and a brand name with every consonant in place.

Already Shelled

NutcrackerAnyAny (character choice)One narrator15 secondsabout 16s
Company, halt! [Jaw clack] Walnuts. Almonds. Pecans. I have cracked ten thousand of them. I have never been offered one. Hazelgrove Mixed Nuts. Already shelled. Lightly salted. Resealable bag. Already shelled. Then what am I for? Hazelgrove. Carry on.

Direction: Clipped, formal wooden soldier giving a proud report, then quietly losing his sense of purpose
What it is for: Dropping from a parade-ground bark to a small, lost thought and snapping back again.
Coach's note: Watch out for barking 'Then what am I for?' like the rest. It is the only soft line in the spot, so let the volume fall away and the pace slow. Keep the commands short and supported, not shouted from the throat. The turn is 'Already shelled. Then what am I for?'
What casting listens for: Casting listens for a clean feature list and a moment of real feeling from a wooden toy.

Uniform Inspection

NutcrackerAnyAny (character choice)One narrator15 secondsabout 14s
Uniform inspection! [Jaw clack] Collar, crisp! Buttons, gleaming! Trousers, pressed! Excellent! Brassbutton Dry Cleaners. Same-day service. In by nine, out by five. Shirts, two dollars each. This coat is painted on. They cleaned it anyway. Outstanding!

Direction: Brisk, barking wooden soldier conducting an inspection; clipped, delighted and extremely formal
What it is for: Fast, crisp two-word phrases that each need a clean attack and a clean stop.
Coach's note: Watch out for letting the pairs blur into each other. 'Collar, crisp! Buttons, gleaming! Trousers, pressed!' needs a tiny stop after every one. Clip the ends with your tongue and teeth rather than clamping your throat. The turn is 'This coat is painted on. They cleaned it anyway.'
What casting listens for: Casting listens for diction, energy that stays up and business hours you can follow the first time.

The Mouse Situation

NutcrackerAnyAny (character choice)One narrator15 secondsabout 18s
Emergency briefing! [Jaw clack] There is a mouse in the pantry. I have fought mice. With a tiny sword. It did not go well. Call Gatehouse Pest Control. Humane. Thorough. Free inspection. Gatehouse. Let the professionals handle it. I will supervise. From the shelf.

Direction: Stiff, urgent wooden soldier delivering an emergency briefing, then admitting defeat with full military dignity
What it is for: Keeping a formal, clipped delivery while confessing something embarrassing.
Coach's note: Watch out for winking at the joke. He reports 'It did not go well' exactly as he would report the weather: flat, formal, eyes front. Keep the bark forward and easy. The turn is 'With a tiny sword. It did not go well.'
What casting listens for: Casting listens for deadpan commitment and a service line that sounds trustworthy.

Permission to Stop Squeaking

NutcrackerAnyAny (character choice)One narrator15 secondsabout 16s
[Jaw clack. A long, slow creak] That noise is my jaw. It is undignified. A soldier does not squeak! Hingewell household oil. One drop. Doors. Drawers. Bicycle chains. Jaws. [A smooth, quiet clack] Silence. Magnificent. Hingewell. Permission to stop squeaking, granted.

Direction: Proud, clipped wooden soldier mortified by his own squeaky jaw, then deeply satisfied
What it is for: Working with sound effects in a script: leaving room for them and reacting honestly.
Coach's note: Watch out for talking over your own effects. Let the creak finish, wait a beat, then speak. The single-word list 'Doors. Drawers. Bicycle chains. Jaws.' needs four clean stops. The turn is the hushed 'Silence. Magnificent.'
What casting listens for: Casting listens for timing around the effects and a short product line delivered with authority.

I Cannot Demonstrate

NutcrackerAnyAny (character choice)One narrator30 secondsabout 31s
[Jaw clack] Recruits! Fall in! This is Drumline Boot Camp, and I am your instructor! You will march! You will lunge! You will do one hundred jumping jacks! I will demonstrate! [A pause] I cannot demonstrate. My arms only go up and down. My knees do not exist. But I will shout encouragement! Loudly! With excellent posture! Drumline Boot Camp. Six a.m. classes, Monday through Friday. First class free. Bring water. Bring a friend who can bend. Dismissed!

Direction: Booming, clipped drill-instructor nutcracker at full parade volume, then one quiet, honest admission
What it is for: Sustaining a loud, commanding character for thirty seconds without shouting yourself hoarse.
Coach's note: Watch out for yelling from the throat for half a minute. Think 'projected', not 'screamed': big breath, open throat, and take the volume down a notch on the class details so they are easy to hear. Rest between takes. The turn is 'I cannot demonstrate. My arms only go up and down.'
What casting listens for: Casting listens for command without strain, a real drop on the admission and class times that are clear.

Relieved of Duty

NutcrackerAnyAny (character choice)One narrator30 secondsabout 35s
[Jaw clack] Halt! Who goes there? [A pause] It was the cat. It is always the cat. I have guarded this mantel for one hundred and thirty years. I have never blinked. I am, however, nine inches tall. That is why this household has installed Watchpost Home Security. Door sensors! Window sensors! A camera at the front step! Alerts sent directly to your telephone! Professional installation, free. Monitoring from twenty-nine dollars a month. Watchpost Home Security. I am being relieved of duty. [Jaw clack] Finally. A nap.

Direction: Formal, clipped wooden sentry reporting for duty; stiff and proud, then quietly glad to stand down
What it is for: A character read built around a feature list and a price, with a soft landing at the end.
Coach's note: Watch out for barking the features so hard they blur. 'Door sensors! Window sensors! A camera at the front step!' are three separate reports, each with a clean stop. Ease the volume on the price. The turn is 'I am, however, nine inches tall.'
What casting listens for: Casting listens for a feature list with shape, a clear monthly price and a character who earns the gentle ending.

Who Poured That Milk?

Gingerbread manAnyAny (character choice)One narrator15 secondsabout 15s
Ha! Fastest cookie alive, coming through! You can't catch me! Zipstride running shoes. Lightweight. Cushioned. Grippy on a floury counter. [Looking over his shoulder] Is that a glass of milk? Who poured that? Zipstride. Gotta go. Gotta go!

Direction: Fast, cocky, squeaky little cookie; high and bright, bragging at top speed, then suddenly nervous
What it is for: A high, quick character voice that stays clear at speed.
Coach's note: Watch out for squeezing the squeak out of a tight throat. Place it high and forward, behind the nose and top teeth, on plenty of breath, and it will last all session. Slow down just enough for 'Zipstride running shoes'. The turn is 'Is that a glass of milk? Who poured that?'
What casting listens for: Casting listens for speed with diction and a switch from swagger to panic you can hear.

Four Minutes to Live

Gingerbread manAnyAny (character choice)One narrator15 secondsabout 17s
Listen. I'm a cookie. I've got a life expectancy of about four minutes. Six if nobody's hungry. Larkmoor Life. Free quote. No exam. Coverage from ten dollars a month. Larkmoor. Because somebody always wants a bite. I've left everything to the gumdrops.

Direction: Quick, squeaky, streetwise little cookie being surprisingly practical; fast and matter of fact, then sweet
What it is for: Taking a cartoon voice down to something sincere without changing the voice itself.
Coach's note: Watch out for playing the whole thing at full panic. This one is calm for him: brisk, sensible, a cookie with his paperwork in order. Keep the high voice light and forward. The turn is the soft, proud 'I've left everything to the gumdrops.'
What casting listens for: Casting listens for a character who can be sincere and an offer line that is easy to follow.

Who Bit My Leg?

Gingerbread manAnyAny (character choice)One narrator15 secondsabout 16s
Okay, who did it? Who bit my leg? I had two of these this morning! [Fast, businesslike] Patchwell bandages. Flexible. Waterproof. Stays on through anything. Even icing. Patchwell. Good as new. And still faster than you on one leg.

Direction: Outraged, squeaky, fast-talking cookie; indignant at the top, then brisk and businesslike, then cocky again
What it is for: Three quick gear changes in a high voice: outrage, sales pitch, swagger.
Coach's note: Watch out for screeching the first line. Outrage in a high voice gets sharp fast, so keep it forward and bright rather than loud, and let the product list drop to an easy mid pace. The turn is 'Good as new. And still faster than you on one leg.'
What casting listens for: Casting listens for clean gear changes and a product list that is crisp even at cartoon pitch.

None of Them Are Me

Gingerbread manAnyAny (character choice)One narrator15 secondsabout 16s
Hey! You! Hungry? Put me down. Go to Sugarloft Bakery instead. Cinnamon rolls. Fresh bread every morning at seven. Eat them. They're delicious. They can't even run. Sugarloft Bakery. One dozen cookies, twelve dollars. None of them are me. I checked.

Direction: Squeaky, fast, cocky cookie talking his way out of trouble; a nervous salesman with a big grin
What it is for: Selling hard and fast in character while keeping a time and a price perfectly clear.
Coach's note: Watch out for racing through 'every morning at seven' and 'twelve dollars'. Those are the two facts a listener needs, so tap the brakes on each. Keep the squeak placed forward, not pinched. The turn is 'Eat them. They're delicious. They can't even run.'
What casting listens for: Casting listens for comic urgency, likability and a price you catch the first time.

The Driver Is a Fox

Gingerbread manAnyAny (character choice)One narrator15 secondsabout 16s
I need a ride. There's a baker behind me, and she's got a spatula. Whiskaway Rides. Tap the app. Car in three minutes. Flat fares across town. Here it comes. Oh no. The driver's a fox. Whiskaway. I'll walk. I'll run!

Direction: Breathless, squeaky cookie on the run; fast and urgent, relieved for one second, then horrified
What it is for: Reacting to something the listener can't see, in the middle of a fast commercial read.
Coach's note: Watch out for running out of air. He is out of breath but you shouldn't be, so grab a quick breath before the brand line and act the panting instead of doing it. The turn is 'Oh no. The driver's a fox.'
What casting listens for: Casting listens for a believable reaction, energy that keeps building and a clear app pitch in the middle.

Why Is It Preheating?

Gingerbread manAnyAny (character choice)One narrator30 secondsabout 34s
[Fast, nervous] Hi! Hello! They asked me to do the commercial for the new Copperdale convection oven. Me. A cookie. The Copperdale heats up in six minutes. Six! That's fast. That's too fast. Even baking on every rack. So nothing escapes. Great. It has a window. And a little light. So you can watch. [Gulp] And it's self-cleaning, so there's no evidence. The Copperdale convection oven. On sale now for seven ninety-nine, through December twenty-fourth. Is the check ready? Can I go? Why is it preheating?

Direction: Nervous, squeaky, fast-talking cookie trying to stay professional while reading an oven ad; the smile keeps slipping
What it is for: Building one feeling steadily across thirty seconds, from uneasy to full panic, while the product points stay clear.
Coach's note: Watch out for starting at full panic with nowhere to go. Begin polite and only slightly worried, and let each feature scare him a little more. Keep the high voice forward and take a breath before the price. The turn is 'It has a window. And a little light. So you can watch.'
What casting listens for: Casting listens for a build, a clear price and date, and a character who is funny because he keeps trying to do the job.

Six Inches of Pure Speed

Gingerbread manAnyAny (character choice)One narrator30 secondsabout 33s
Fastest delivery in town? You're looking at him. Six inches of pure speed. I outran a baker. I outran a cow. I outran a whole farm, straight out of the oven. Now I run for Thistledown Couriers. Same-day delivery, anywhere in the city. Packages. Documents. Lunch. Real-time tracking, flat rate, nine dollars. [Out of breath] I've never lost a package. I did lose a button. And part of an arm. Dogs. It's fine. Thistledown Couriers. Book online. I'm already on my way.

Direction: Cocky, squeaky, fast-talking cookie bragging at full tilt, a little out of breath, never less than confident
What it is for: Sustaining a quick, high character for thirty seconds with enough variety that it doesn't wear on the ear.
Coach's note: Watch out for holding one pitch and one speed the whole way. Brag fast, then slow down and drop a little lower for the service details, then speed up again. Keep the squeak forward and breathe between paragraphs. The turn is 'I did lose a button. And part of an arm.'
What casting listens for: Casting listens for swagger, breath control and delivery details that are clear at speed.

Krampus Tidies Up

KrampusAdult (40-55)Any (character choice)One narrator15 secondsabout 16s
I am Krampus. For a thousand years, I have come down from the mountain to inspect bedrooms. There are socks. On the floor. Still. Stackwell storage bins. They stack. They have lids. Stackwell. Do not make me give you the look.

Direction: Deep, gravelly, theatrical Christmas goblin; slow and ominous, as if announcing doom, about socks
What it is for: Holding a low, rough character voice while a product name and two features stay clean.
Coach's note: Watch out for scraping the gravel out of your throat. Let it ride on breath from your belly and keep the volume moderate; low and slow is scarier than loud. 'They stack. They have lids.' wants two clean beats. The turn is the weary, almost polite 'Do not make me give you the look.'
What casting listens for: Casting listens for a big rough character that never slips, and a brand name you could spell after one listen.

Krampus Says Thank You

KrampusAdult (40-55)Any (character choice)One narrator15 secondsabout 13s
You received a sweater. From your grandmother. And you said nothing. NOTHING! Inkberry thank-you cards. Twelve cards, twelve envelopes, four dollars. Write to your grandmother. Krampus is watching. And Krampus has excellent penmanship.

Direction: Deep, gravelly, theatrical grump; quietly appalled, one huge outburst, then prim and proud
What it is for: Controlling one loud moment inside a low, rough character without hurting your voice.
Coach's note: Watch out for shouting 'NOTHING!' from the throat. Make it big with breath and an open mouth, not with squeeze, and come straight back down for the offer. Keep 'twelve cards, twelve envelopes, four dollars' even. The turn is the smug little 'And Krampus has excellent penmanship.'
What casting listens for: Casting listens for dynamic range, one real peak and a controlled landing, with the price still easy to catch.

Krampus Fires Up the Grill

KrampusAdult (40-55)Any (character choice)One narrator15 secondsabout 15s
Every December, I hand out coal. Lumps and lumps of coal. Nobody is ever pleased. Then somebody told me about barbecue. Emberhollow Charcoal. Lights fast. Burns even. Wonderful on a burger. Emberhollow. Finally, they say thank you.

Direction: Deep, gravelly, theatrical grump; long-suffering at the top, then gruffly delighted about burgers
What it is for: Showing a change of mood, from hard-done-by to pleased, without changing the voice.
Coach's note: Watch out for playing him grumpy all the way through. He has to warm up on 'Then somebody told me about barbecue', and the warmth should come from pace and a smile, not from dropping the gravel. Keep the rumble breath-supported. The turn is the quietly amazed 'Finally, they say thank you.'
What casting listens for: Casting listens for a mood change you can hear inside one consistent character voice.

Krampus Wipes His Hooves

KrampusAdult (40-55)Any (character choice)One narrator15 secondsabout 14s
Halt! You were about to walk in. With your boots on. Across a clean floor. Mudgate doormats. Thick. Bristly. Nineteen ninety-nine. I have hooves, and even I wipe them. Mudgate. Thank you for your cooperation.

Direction: Deep, gravelly, theatrical grump as a stern doorman; a barked command, then icy good manners
What it is for: Starting at full attack on a single word and then settling into a measured, clear sell.
Coach's note: Watch out for barking 'Halt!' from a cold throat. Warm up first, hit it once, from the belly, and let the rest sit lower and quieter. 'Thick. Bristly. Nineteen ninety-nine.' needs three separate beats. The turn is the clipped, official 'Thank you for your cooperation.'
What casting listens for: Casting listens for a strong opening and a price that survives the character voice.

Krampus Clears His Throat

KrampusAdult (40-55)Any (character choice)One narrator15 secondsabout 16s
[Deep, rumbling growl] Do you hear that? That is a thousand winters of shouting 'Make your bed, please!' up a staircase. Honeyfir Throat Drops. Honey. Pine. Very soothing. [Softer, almost pleasant, still low] Oh. Oh, that is lovely. Honeyfir.

Direction: Deep, gravelly, theatrical grump whose rumble softens, just slightly, into surprised pleasure
What it is for: Easing the texture of a rough voice up and down on purpose, which is the skill that keeps it healthy.
Coach's note: Watch out for grinding out the opening growl. Make it a short, breathy rumble on a full breath, not a scrape, and sip water between takes. Soften the gravel on 'Oh' but keep the pitch low so it is still him. The turn is the small, astonished 'Oh, that is lovely.'
What casting listens for: Casting listens for control over the texture: rough when you choose, smooth when you choose.

Krampus Inspects the House

KrampusAdult (40-55)Any (character choice)One narrator30 secondsabout 32s
I am Krampus. Shadow of the mountain. Keeper of the list nobody wants to be on. And I have seen your guest bathroom. The relatives arrive in three days. Three! There is a towel on the floor that has been there since October. Call Tidyhearth Home Cleaning. Kitchens. Bathrooms. Under the beds, where I always look. Two cleaners, three hours, one hundred and forty-nine dollars. Tidyhearth. Book this week, and I will cross you off my list. In pencil.

Direction: Deep, gravelly, theatrical grump; grand and menacing introduction, then a fussy house inspector with a price list
What it is for: Sustaining a low, rough character for thirty seconds while delivering a service list and an offer.
Coach's note: Watch out for spending all your gravel in the first two lines. Pace it: big on the introduction, lighter and drier through the list, and breathe at every full stop. 'One hundred and forty-nine dollars' must be clean. The turn is the tiny, grudging 'In pencil.'
What casting listens for: Casting listens for stamina, a character that sounds the same at second thirty as at second one, and a clear offer.

Krampus Takes a Holiday

KrampusAdult (40-55)Any (character choice)One narrator30 secondsabout 34s
Nobody asks what Krampus does in January. I will tell you. I sit. On a cold rock. For eleven months. Not this year. Sunpeak Getaways. Seven nights by the sea. Flights, hotel and breakfast included, from six hundred and ninety-nine dollars. I have packed sandals. They do not fit over the hooves, but I have packed them. I will lie on a beach. I will frighten no one. I will say please at the buffet. Sunpeak Getaways. Even the bad cop needs a week off.

Direction: Deep, gravelly, theatrical grump; gloomy and self-pitying, then stiffly, solemnly excited about a beach
What it is for: Finding warmth and vulnerability in a monster voice without letting the character go soft.
Coach's note: Watch out for dropping the character when he gets hopeful. The gravel and the low pitch stay; only the tempo lifts. Rest your voice on the quiet lines so the rumble is breath, not strain. The three 'I will' lines should build. The turn is the plain, tired 'Even the bad cop needs a week off.'
What casting listens for: Casting listens for a character with feelings: comedy that comes from sincerity, and a package price you can repeat.

The Ghost Remembers Your Haircut

Ghost of Christmas PastAnyAny (character choice)One narrator15 secondsabout 15s
Come with me. I will show you a Christmas long ago. Look. There you are. And there is... the haircut. Oh. Oh dear. Lark and Comb Salon. Cuts from thirty dollars. Let us not repeat the past.

Direction: Soft, echoing, wistful spirit; gentle and floating, then quietly horrified by a haircut
What it is for: Keeping a soft, airy character voice audible and letting a tiny reaction carry the joke.
Coach's note: Watch out for fading into a whisper nobody can hear. Keep the breathiness but finish every word, especially 'Lark and Comb' and 'thirty dollars'. 'Oh. Oh dear.' should be small and real, not mugged. The turn is the tactful 'Let us not repeat the past.'
What casting listens for: Casting listens for a gentle voice with a clear point of view, and an underplayed laugh line.

The Ghost of Phones Past

Ghost of Christmas PastAnyAny (character choice)One narrator15 secondsabout 15s
I am the Ghost of Christmas Past. Behold. Your first phone. It flipped. It had a little antenna. You loved it. It is still in your kitchen drawer. Ringback Phone Trade-In. Cash for old phones. It is time.

Direction: Soft, echoing, wistful spirit; reverent and misty about a flip phone, then kindly firm
What it is for: Treating a silly object with total sincerity, which is what makes character comedy land.
Coach's note: Watch out for winking at the joke. He truly mourns that phone, so play it straight and let the listener laugh. Keep the breathy tone but give 'antenna' and 'Trade-In' their consonants. The turn is the gentle, final 'It is time.'
What casting listens for: Casting listens for commitment and a clean brand name inside a soft, floating read.

The Ghost and the Old Sofa

Ghost of Christmas PastAnyAny (character choice)One narrator15 secondsabout 15s
Do you remember this sofa? The brown one. With the flowers. Covered in plastic. You were never allowed to sit on it. Oakenrest Furniture. Sofas you can actually sit on. From four ninety-nine. Oakenrest. Sit down. At last.

Direction: Soft, echoing, wistful spirit; dreamy and sad about a sofa, then warmly relieved
What it is for: Painting a picture with short phrases, one image per line, at an unhurried pace.
Coach's note: Watch out for running the short lines together. 'The brown one. With the flowers. Covered in plastic.' is three separate pictures, each with its own breath. Stay soft, but land the price. The turn is the long-awaited 'Sit down. At last.'
What casting listens for: Casting listens for pacing and imagery: can you make us see the sofa in five seconds?

The Ghost Finds the Shoebox

Ghost of Christmas PastAnyAny (character choice)One narrator15 secondsabout 14s
I have walked through every Christmas you ever had. Most of them are in a shoebox. In the attic. Slightly damp. Atticlight Photo Scanning. Five hundred photos, sixty dollars. Atticlight. I cannot keep carrying these.

Direction: Soft, echoing, wistful spirit; tender and nostalgic, then mildly fed up, like a tired librarian
What it is for: Slipping a dry, human complaint into an otherworldly voice without breaking it.
Coach's note: Watch out for going so misty that the offer disappears. 'Five hundred photos, sixty dollars' is the one hard fact, so firm it up. Keep the airflow steady rather than sighing every line. The turn is the plaintive 'I cannot keep carrying these.'
What casting listens for: Casting listens for a character with a practical problem, and numbers that cut through a soft read.

The Ghost Checks the Mattress

Ghost of Christmas PastAnyAny (character choice)One narrator15 secondsabout 18s
This is your mattress. I remember when it arrived. The Christmas of two thousand and four. I was there. It was already a little lumpy. Drowsewell Mattress. One hundred nights to try it. Free delivery. Drowsewell. Please. It has been a very long time.

Direction: Soft, echoing, wistful spirit; hushed and fond, then pleading very politely
What it is for: Using a quiet voice to make a direct ask, so the sell feels like a favor between friends.
Coach's note: Watch out for letting the pitch drift up into a spooky wobble. Keep it simple and close to the microphone, with crisp ends on 'lumpy' and 'delivery'. The turn is the single, patient 'Please.' before 'It has been a very long time.'
What casting listens for: Casting listens for intimacy and restraint, and a clear trial offer.

The Ghost Goes Thrifting

Ghost of Christmas PastAnyAny (character choice)One narrator30 secondsabout 35s
I am the Ghost of Christmas Past. I am supposed to show you what you have lost. But I have found it. All of it. It is at Thimbleweed Vintage. The orange lamp from your aunt's hallway. The record player. A telephone with a cord so long you could walk to the kitchen. And the coat. Oh, the coat. You looked wonderful in that coat. Thimbleweed Vintage. Open every day until six. The past is not gone. It is twelve dollars, and it is on a hanger.

Direction: Soft, echoing, wistful spirit who becomes, for once, quietly thrilled; a breathless list of treasures
What it is for: Building excitement through a list while staying inside a soft, gentle voice.
Coach's note: Watch out for sounding the same on every item. Each object is a new discovery, so let the delight grow from the lamp to the coat. Breathy is fine, but keep consonants crisp so 'Thimbleweed' is not lost. The turn is the matter-of-fact 'It is twelve dollars, and it is on a hanger.'
What casting listens for: Casting listens for a list that builds, real affection in the voice, and a store name that reads clearly twice.

The Ghost Waits for the Internet

Ghost of Christmas PastAnyAny (character choice)One narrator30 secondsabout 33s
Hush. Listen. [Soft, wistful imitation of an old dial-up tone] Do you remember? You wanted to look at one picture. One. You started on Christmas Eve. It finished loading at breakfast. And if anyone picked up the telephone, it was all over. Those days are gone. Swiftbrook Fiber Internet. One gigabit, forty-five dollars a month. No contract. Free installation this December. A whole film, in seconds. The entire family online, at once. Swiftbrook. I miss many things. I do not miss that.

Direction: Soft, echoing, wistful spirit; nostalgic for everything except slow internet, with a brisk, clear offer in the middle
What it is for: Moving from storytelling into hard offer details and back, all in one gentle voice.
Coach's note: Watch out for overdoing the dial-up noise. Two seconds of a soft, sung squeal is plenty, and do not strain for it. Tighten up for 'One gigabit, forty-five dollars a month. No contract.' so the facts are sharp. The turn is the flat, honest 'I do not miss that.'
What casting listens for: Casting listens for storytelling, a playful sound effect, and offer details that stay crisp.

Mall Santa's Boots

Mall SantaAdult (40-55)Any (character choice)One narrator15 secondsabout 16s
Ho, ho... ho. Hour nine. I am one of Santa's seasonal helpers, and I have been in these boots since ten this morning. Archwell Insoles. Cushioned heel. Arch support. Fits any boot. Archwell. Merry Christmas. I'm going to sit down now.

Direction: Worn-out, deadpan seasonal helper on hour nine; a flat, cracking 'ho ho ho', still trying to be jolly
What it is for: Playing exhaustion and good cheer at the same time, with a tidy three-part feature list.
Coach's note: Watch out for playing tired as slow and mumbled. He is worn out, not asleep, so keep the pace moving and the words clear. Let the voice crack on the third 'ho' by easing off the breath, not by forcing it. The turn is the honest 'I'm going to sit down now.'
What casting listens for: Casting listens for a real person under the costume: dry, likeable and easy to understand.

Mall Santa Needs a Coffee

Mall SantaAdult (40-55)Any (character choice)One narrator15 secondsabout 15s
Ho ho ho! And what would you like for Christmas? [Voice cracks] Me? Oh. Nobody's asked me that today. A large coffee. From Northbean, by the fountain. Two fifty before noon. Northbean. It's what Santa's helper wants.

Direction: Worn-out, deadpan seasonal helper; a big practiced 'ho ho ho', then small and genuinely touched
What it is for: Dropping from a performed voice to a real one in a single beat.
Coach's note: Watch out for keeping the jolly voice on after 'Me?'. That word is where the act falls away, so go quiet and natural. Do not fake the crack; a little less air will do it. Give 'Two fifty before noon' a clean read. The turn is the wistful 'Nobody's asked me that today.'
What casting listens for: Casting listens for the switch between the showman and the tired man, and an honest, underplayed laugh.

Mall Santa Shakes Hands

Mall SantaAdult (40-55)Any (character choice)One narrator15 secondsabout 13s
Merry Christmas. Come on up. That's a sticky hand. That is a very sticky hand. What is that, candy cane? Okay. Clearmitt Hand Sanitizer. Pocket size. Ninety-nine cents. Clearmitt. Ho ho ho. Next.

Direction: Worn-out, deadpan seasonal helper; calm, kindly and quietly alarmed by a sticky hand
What it is for: Reacting in real time, as if something is happening in front of you while you speak.
Coach's note: Watch out for reading the sticky-hand lines as jokes. He is discovering it as he goes, so each line should be a new, slightly worse piece of information. Stay kind; he likes the kids. The turn is the professional, already-moving-on 'Ho ho ho. Next.'
What casting listens for: Casting listens for spontaneity, a read that sounds like it is happening now, plus a clear product and price.

Mall Santa's Suit

Mall SantaAdult (40-55)Any (character choice)One narrator15 secondsabout 15s
This suit has seen three hundred hot chocolates today. Two of them were mine. Pressgate Dry Cleaners. Same-day service. Velvet, fur trim, big black belts, whatever you've got. Pressgate. Level two, next to the pretzels. Ho ho. Ho.

Direction: Worn-out, deadpan seasonal helper; dry as toast, reciting the facts of his day
What it is for: Deadpan delivery: getting the laugh by doing less.
Coach's note: Watch out for pushing the punchlines. 'Two of them were mine' works because he does not think it is funny. Keep the list in the middle brisk and the consonants clean on 'Pressgate'. The turn is the broken-up, out-of-breath 'Ho ho. Ho.'
What casting listens for: Casting listens for dry timing and a location line a shopper could follow.

Mall Santa Says Cheese

Mall SantaAdult (40-55)Any (character choice)One narrator15 secondsabout 15s
Smile. Smile. Look at the camera, buddy. Over here. Four hundred photos today. Somebody blinks in every single one. Usually me. Snapfrost Photo Studio. Unlimited retakes. Prints in ten minutes. Snapfrost. We'll get one. I believe in us.

Direction: Worn-out, deadpan seasonal helper; patient coaxing, weary honesty, then a small spark of real hope
What it is for: Ending a tired character on sincerity, so the read finishes warm instead of sour.
Coach's note: Watch out for sounding annoyed with the kid. He is patient and on their side, even now. Keep the opening light and quick, and the offer clear. The turn is the quietly determined 'We'll get one. I believe in us.'
What casting listens for: Casting listens for warmth under the tiredness, and a believable shift to hope in the last line.

Mall Santa Is Hiring

Mall SantaAdult (40-55)Any (character choice)One narrator30 secondsabout 35s
Hi. I'm one of Santa's seasonal helpers. This is hour nine. Cedar Court Mall is hiring for the holidays. Gift wrappers. Greeters. Somebody to manage the photo line. Please. Sixteen dollars an hour. Flexible shifts. Half off at the food court. You'll hear the same eleven songs four hundred times. You'll find glitter in your ears in March. Then a kid whispers what they're hoping for, and you remember why you came. Cedar Court Mall. Apply at the customer service desk. Ho ho ho. Bring comfortable shoes.

Direction: Worn-out, deadpan seasonal helper reading a job ad; flat and honest, with one unguarded, heartfelt moment
What it is for: Carrying a recruitment message through comedy, with pay and details clear, and one true emotional beat.
Coach's note: Watch out for staying flat through the kid line. That sentence is the reason he does the job, so let the voice soften and slow there, then return to deadpan. Do not push the tired, cracked sound for thirty seconds; let it come and go. The turn is the practical 'Bring comfortable shoes.'
What casting listens for: Casting listens for a character with a heart, and for pay, perks and how to apply all landing clearly.

Mall Santa Finds a Chair

Mall SantaAdult (40-55)Any (character choice)One narrator30 secondsabout 34s
I sit in a chair nine hours a day. People think that's the easy part. It's a throne. It's made of plywood. It was painted gold in nineteen ninety-four. On my break, I walk forty feet to Loungewright Recliners. And I sit in the big one. The one with the footrest. Power recline. Heated seat. A cup holder. Seven ninety-nine, with free delivery before Christmas. I've been in it eleven minutes. I've never been happier. Loungewright. Tell them Santa's helper sent you. Quietly. I'm resting.

Direction: Worn-out, deadpan seasonal helper who slowly melts into bliss; the voice gets softer and sleepier as he reclines
What it is for: Letting a character physically relax through a read, so the voice changes as the story does.
Coach's note: Watch out for getting so sleepy that the features blur. 'Power recline. Heated seat. A cup holder.' still has to sell, so keep those three clean even as he sinks. Relax your jaw and shoulders for real; it will show in the sound. The turn is the hushed 'Quietly. I'm resting.'
What casting listens for: Casting listens for a journey from weary to blissful, with the price and delivery offer intact.

The Fruitcake Holds the Door

FruitcakeAnyAny (character choice)One narrator15 secondsabout 16s
Hello! I am a fruitcake. I have been regifted every year since nineteen eighty-seven. Last year, somebody used me to hold a door open. So I looked into it. Wedgewick Doorstops. Solid rubber. Six dollars. Wedgewick. Honestly? They're better at it.

Direction: Dense, proud, wounded but relentlessly cheerful talking fruitcake; bright, chin up, a little thick in the mouth
What it is for: Playing hurt feelings under a sunny voice, the classic brave-face comedy read.
Coach's note: Watch out for playing him sad. He is determined to be fine, so the brightness never drops; the hurt only shows in tiny pauses. If you thicken the voice, keep the tongue tip busy so 'Wedgewick' stays clear. The turn is the generous, crushed 'Honestly? They're better at it.'
What casting listens for: Casting listens for a distinct character point of view and comedy that comes from optimism.

The Fruitcake Moves Again

FruitcakeAnyAny (character choice)One narrator15 secondsabout 16s
I have lived in thirty-eight homes. I have never once unpacked. So trust me. I know movers. Stoutbridge Movers. Careful. On time. Nothing broken. Not that anything could break me. Stoutbridge. Wherever I end up next, I'll be thrilled.

Direction: Dense, proud, wounded but relentlessly cheerful talking fruitcake; the confident voice of long experience
What it is for: Delivering an expert testimonial in character, with a quick aside tucked inside a list.
Coach's note: Watch out for losing the aside. 'Not that anything could break me' is a proud little boast, so lift it out of the list with a change of pitch. Keep 'Careful. On time. Nothing broken.' crisp. The turn is the sunny, slightly heartbreaking 'Wherever I end up next, I'll be thrilled.'
What casting listens for: Casting listens for a clear list, a well-timed aside and a character we root for.

The Fruitcake Is Looking

FruitcakeAnyAny (character choice)One narrator15 secondsabout 16s
My profile says: Dense. Sweet. Full of surprises. Available since nineteen eighty-seven. No matches yet. But it's early! Mapleheart. The dating app that finds someone who likes you exactly as you are. Mapleheart. Somebody out there wants a fruitcake.

Direction: Dense, proud, wounded but relentlessly cheerful talking fruitcake; reading his own profile with total confidence
What it is for: Bouncing back: a setback and an instant recovery inside two short lines.
Coach's note: Watch out for pausing too long after 'No matches yet.' The joke is how fast he recovers, so 'But it's early!' comes right on its heels. Keep the long product line on one breath and moving. The turn is the hopeful 'Somebody out there wants a fruitcake.'
What casting listens for: Casting listens for quick comic recovery and a sincere, clean read of the brand promise.

The Fruitcake Hits the Gym

FruitcakeAnyAny (character choice)One narrator15 secondsabout 17s
People say I'm heavy. People say I'm dense. People say I could break a toe. At Ironbrook Fitness, they call that a kettlebell. Ironbrook. Nineteen dollars a month. No judgment. They put me on the rack. I have never felt so useful.

Direction: Dense, proud, wounded but relentlessly cheerful talking fruitcake; reciting old insults, then glowing with belonging
What it is for: Using repetition, three matching lines, and then breaking the pattern for the laugh.
Coach's note: Watch out for reading the three 'People say' lines the same way. Let each one sting a little more, then flip the mood on 'At Ironbrook Fitness'. Keep the price clear and unhurried. The turn is the deeply moved 'I have never felt so useful.'
What casting listens for: Casting listens for a build of three, a clean reversal and a price that is easy to catch.

The Fruitcake Recommends the Bakery

FruitcakeAnyAny (character choice)One narrator15 secondsabout 15s
Butterwick Bakery makes cinnamon rolls. Warm ones. And gingerbread. And a chocolate log people line up for. They do not make fruitcake. I asked. They laughed. Kindly! Butterwick Bakery. Open at seven. I'll be outside. Just in case.

Direction: Dense, proud, wounded but relentlessly cheerful talking fruitcake; generously praising his rivals
What it is for: Selling someone else's product with real appetite while your own character's story plays underneath.
Coach's note: Watch out for rushing 'I asked. They laughed. Kindly!' Those are three beats: hope, hurt, and the instant brave face. Make the cinnamon rolls sound delicious; the ad still has to work. The turn is the patient, undefeated 'I'll be outside. Just in case.'
What casting listens for: Casting listens for appetite appeal in the food lines and precise three-beat timing.

The Fruitcake in Storage

FruitcakeAnyAny (character choice)One narrator30 secondsabout 35s
Hello from unit forty-two! I am a fruitcake. I was baked in nineteen eighty-seven, and I have been given to eleven different people. Each one said, 'Oh. You shouldn't have.' And they meant it. Now I live at Stowaway Lane Self Storage. And may I say? It's lovely. Climate controlled. Clean. Dry. Open twenty-four hours. Units from twenty-nine dollars a month. I have a shelf. I have a neighbor. He's an exercise bike. We don't talk about it. Stowaway Lane. For the things you can't quite throw away.

Direction: Dense, proud, wounded but relentlessly cheerful talking fruitcake; a delighted tour of his new home
What it is for: Keeping one bright attitude alive for thirty seconds without it going sing-song.
Coach's note: Watch out for smiling so hard that every line has the same tune. Vary it: brisk for the features, confidential for the neighbor, simple for the tagline. If you use a thick character voice, release your jaw between lines so it does not tire. The turn is the hushed 'We don't talk about it.'
What casting listens for: Casting listens for variety inside a consistent character, and clear features and a monthly price.

The Fruitcake Finds a Coach

FruitcakeAnyAny (character choice)One narrator30 secondsabout 34s
For years, I believed what people said about me. Too heavy. Too chewy. 'What are the green bits?' Then I found Brightsteps Coaching. My coach, Dana, asked me one question. 'What do you want?' Nobody had ever asked. I cried a raisin. Six weeks later, I have goals. I have a morning routine. I stand in front of the mirror and say, 'I am a gift.' Brightsteps Coaching. First session free. Online or in person. Brightsteps. I'm still a fruitcake. But now it's a choice.

Direction: Dense, proud, wounded but relentlessly cheerful talking fruitcake giving a heartfelt testimonial
What it is for: A testimonial read in character: real emotional stakes, played completely straight.
Coach's note: Watch out for laughing at 'I cried a raisin.' He means it. Play the whole spot as a sincere success story and the comedy takes care of itself. Give the quoted lines a slightly different voice so we hear who is speaking. The turn is the proud, peaceful 'But now it's a choice.'
What casting listens for: Casting listens for sincerity in a ridiculous character, clear quoted dialogue and a clean offer.

The Sugar Plum Fairy's Dentist

Sugar Plum FairyAdult (25-40)Any (character choice)One narrator15 secondsabout 14s
[Twinkle] Hello, darlings! I am the Sugar Plum Fairy. I live in a kingdom made entirely of candy. So I see my dentist twice a year. Pearlbrook Dental. Cleanings from sixty-nine dollars. Sparkle responsibly.

Direction: Sparkly, breathy, impossibly sweet ballet fairy; high and light, with a sensible streak
What it is for: A light, breathy character voice that still delivers a business name and a price cleanly.
Coach's note: Watch out for letting the breathiness blur the words. Float the vowels, but tap the consonants: 'Pearlbrook Dental', 'sixty-nine dollars'. Do not push the pitch higher than is comfortable. The turn is the practical 'So I see my dentist twice a year.'
What casting listens for: Casting listens for sparkle with diction: a sweet voice where every word still arrives.

The Sugar Plum Fairy Closes the Deal

Sugar Plum FairyAdult (25-40)Any (character choice)One narrator15 secondsabout 16s
Oh, you're just looking? How lovely. Everyone is just looking. This one has heated seats, low miles, and one very careful owner. Brambledew Motors. Zero down until January. I have the paperwork right here, sweetheart. Sign where it sparkles.

Direction: Sparkly, breathy, impossibly sweet ballet fairy with the calm, unblinking instinct of a top car salesperson
What it is for: Playing subtext: the voice stays sugar, the intention underneath is pure steel.
Coach's note: Watch out for turning her mean. She never stops being sweet; the pressure is in the pace and the certainty, not in the tone. Keep the breathy sound but give 'Zero down until January' hard, clear edges. The turn is the smiling, immovable 'Sign where it sparkles.'
What casting listens for: Casting listens for layers, charm on top and drive underneath, and a clean finance offer.

The Sugar Plum Fairy Vacuums

Sugar Plum FairyAdult (25-40)Any (character choice)One narrator15 secondsabout 16s
Everywhere I go, I leave a little sparkle. On the rug. On the sofa. On the dog. It does not come out. I'm told that's a problem. The Plumewick cordless vacuum. One ninety-nine. Plumewick. You're welcome. And I'm sorry.

Direction: Sparkly, breathy, impossibly sweet ballet fairy; airy and pleased with herself, then briefly, charmingly guilty
What it is for: Two quick attitude changes at the end of a short read, each on only two or three words.
Coach's note: Watch out for gliding through the last line. 'You're welcome' and 'And I'm sorry' are opposite thoughts, so give each its own color. Keep the airy tone supported so you do not run out of breath on the list. The turn is the small, sheepish 'And I'm sorry.'
What casting listens for: Casting listens for precise little shifts of attitude and a product and price that are easy to hear.

The Sugar Plum Fairy Teaches Barre

Sugar Plum FairyAdult (25-40)Any (character choice)One narrator15 secondsabout 16s
Welcome to Featherpoint Barre Studio, my little snowflakes! Today we float. We flutter. We glow. [Still sweet, absolutely not joking] And then we hold a plank for two minutes. Featherpoint Barre. First class free. Bring water. You'll need it.

Direction: Sparkly, breathy, impossibly sweet ballet fairy as a fitness instructor; dreamy, then sweetly merciless
What it is for: Holding exactly the same sweet tone while the content turns tough, so the contrast does the work.
Coach's note: Watch out for changing your voice for the plank line. The laugh is that she says it just as sweetly as 'We glow.' Breathy does not mean under-supported; take a real breath before the welcome. The turn is the gentle, ominous 'You'll need it.'
What casting listens for: Casting listens for a consistent character and a deadpan contrast, with a clear first-class offer.

The Sugar Plum Fairy Files Early

Sugar Plum FairyAdult (25-40)Any (character choice)One narrator15 secondsabout 14s
Sweet dreams, everyone! Dream of candy. Dream of snow. Dream of your receipts. All of them. In one folder. By January. Ledgerleaf Tax Prep. Simple returns from eighty-nine dollars. Ledgerleaf. Night night. Keep the receipts.

Direction: Sparkly, breathy, impossibly sweet ballet fairy singing a lullaby of a read, about paperwork
What it is for: A soft, bedtime-story delivery that still lands a dull, important instruction.
Coach's note: Watch out for whispering the whole thing. A lullaby voice needs tone in it, or 'eighty-nine dollars' vanishes. Keep the rhythm of the three 'Dream of' lines even so the third one surprises. The turn is the brisk little 'Keep the receipts.'
What casting listens for: Casting listens for a soothing read with a clear price, and a surprise that is set up by rhythm.

The Sugar Plum Fairy's Candy Club

Sugar Plum FairyAdult (25-40)Any (character choice)One narrator30 secondsabout 35s
Hello, my darlings! It's the Sugar Plum Fairy, with a tiny, tiny favor to ask. Join the Sweetmeadow Candy Club. Every month, a box arrives at your door. Peppermint bark. Caramels. Little jellies shaped like stars. It's twelve dollars a month. You can cancel any time. Nobody ever has. Isn't that sweet? [Breathy, bright, and not blinking] Order by December fifteenth and your first box is free. I'd hate for you to miss it. I really would. Sweetmeadow Candy Club. Say yes, darling. It's so much easier.

Direction: Sparkly, breathy, impossibly sweet ballet fairy running a very polite, very relentless sales pitch
What it is for: Sustaining a high, breathy character for thirty seconds and tightening the pressure line by line.
Coach's note: Watch out for staying at one level of sweet. Start feather-light, then get stiller and more focused as she closes, without ever dropping the smile. Sip air often; a breathy voice spends breath quickly, and crisp consonants keep 'December fifteenth' clear. The turn is the soft, final 'Say yes, darling. It's so much easier.'
What casting listens for: Casting listens for stamina in a light voice, a slow build of intensity and a clear price and deadline.

The Sugar Plum Fairy Sells Snow Tires

Sugar Plum FairyAdult (25-40)Any (character choice)One narrator30 secondsabout 35s
Look outside. Do you see it? The first snowfall, soft as sugar, drifting over the rooftops. It's beautiful. It's magical. It is also extremely slippery. Frostgrip Tire Center has four winter tires, fitted and balanced, for three hundred and ninety-nine dollars. That's this week only, darlings. Not next week. This week. Free brake check. Free hot cocoa while you wait. Open Saturdays until five. I dance on my toes for a living. I know a thing or two about grip. Frostgrip Tire Center. Mwah. Book the appointment.

Direction: Sparkly, breathy, impossibly sweet ballet fairy; pure wonder at the snow, then a brisk, sparkling hard sell
What it is for: Switching from poetic scene-setting to retail urgency inside one character voice.
Coach's note: Watch out for keeping the dreamy pace once the offer starts. From 'Frostgrip Tire Center has' she is all business, just in a pretty voice, so pick up the tempo and sharpen the numbers. Keep the pitch where it is comfortable for thirty seconds. The turn is the flat-footed 'It is also extremely slippery.'
What casting listens for: Casting listens for a gear change from lyrical to retail, and a price, deadline and hours that all land.

Questions

How do I do a Santa voice without hurting my throat?

Laugh from your belly, not your throat, and keep the voice warm instead of loud. If it scratches, stop and drink some water. Each script has a coach's note on doing that voice safely.

Which character should a beginner start with?

Start with the snowman or the Ghost of Christmas Past. Both are gentle voices, so you can work on the character without any strain.

Can I post my reads of these scripts?

Yes. They are written by us with made-up brand names, and they are free to practice with, record and post.

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Use these freely. Every script here was written by VO Journey Academy. Practice 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.