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Male voice over scripts

12 hand-picked reads for men's voices, from young adult to 55+, out of 820 male solo scripts and 222 scenes with male roles in our free library. Every one has direction and what casting listens for.

Written by the VO Journey Academy coaching team, the people behind Academy Voices and 790+ published audiobooks. Updated 3 October 2026.

How to use this page. Pick one script from each section. Record it once cold, then once for the one person you are talking to. Read the coach's note and listen back for the thing it names.

Male specs get specific fast. "Real dad, 40s, not an announcer" and "gravel, 55+, quiet authority" are two different jobs. Every card lists the voice age and accent, so you can practice the work you want to book.

Audiobook narration for male narrators

Fiction and non-fiction, from 45 seconds to 90 seconds. All 230 male-narrator excerpts are in the audiobook library.

Of Course You Do

Strangers, an evening trainAdult (40-55)Neutral British1 (male)90 secondsabout 1.6 min
A woman on the evening train told me she was leaving her husband, and I was the first person she had told, because I was nobody. "I'm telling you because you're nobody," she said. "No offence." "None taken." We were an hour north of the city, in the dark. I had a sandwich I no longer felt able to eat. "He isn't cruel," she said. "I'd like that understood. People will want him to be cruel." "He's kind. He brings me tea I don't drink. Twenty-two years of tea, going cold on the bedside table." "I told him once that I don't take it in the mornings. He said, of course you do." "I keep thinking it isn't enough. You can't leave a man over tea." I am not wise. I sell commercial flooring. But I had sat across from my own wife that morning, and I could not have told you, under oath, how she took hers. "I don't think it's the tea," I said. "I think it's the of course." She looked at me then, properly, for the first time. The train slowed. The sign said Harrowby. "This is me." She got her case down herself. At the door she turned. "You're not nobody. I'm sorry I said so." "No, I think I was. It's all right. It was useful." I got home at ten. I asked my wife how she took her tea. She told me. It was not what I would have said.

What it is for: Two strangers on a train and a confession. Trains a modest male narrator, a brittle and funny woman opposite him, and a coda that turns the story back on the teller.
Coach's note: Watch out for making him wise. He sells flooring and says so; his one insight surprises him. The turn is 'I think it's the of course', and a second, quieter one is the final line. Do not rush the last paragraph; four short sentences, each a step.
What casting listens for: Casting listens for a believable woman's voice from a male reader (or the reverse), British understatement, and an ending left alone.

From Literary fiction audiobook scripts

A Kiss to Break It

Cursed bargain, friends to loversYoung adult (18-25)Neutral American1 (male)45 secondsabout 47s
The curse is very clear. One kiss, freely given, before the last frost, or I spend eternity as a rather handsome statue in my aunt's garden. "So kiss someone," says Brielle, not looking up from her book. "It has to be someone who means it." "You are a prince. Somebody must like you." "They like the crown. The curse can tell the difference. It is irritatingly well made." She turns a page. Snow is falling outside the tower window. I have eleven days and one friend, and I have just realised, with the cold certainty of a man falling down a well, that those are the same problem. "What?" she says. "You have gone a funny colour."

What it is for: Comic male first person with a realisation at the end. Trains playing a thought arriving in real time.
Coach's note: Watch out for knowing the ending from the start. He does not see it coming until the well. The turn is 'those are the same problem', and Brielle's last line stays breezy; she has no idea.
What casting listens for: Casting listens for the drop: charming and glib, then one honest beat, without changing the voice.

From Romantasy audiobook scripts

The Zucchini Ordinance

Small-town farce, the town meetingAdult (40-55)Neutral American1 (male)1 minuteabout 64s
The town meeting in Pell's Corner was called to order at seven, and by five past it was about zucchini. "It's an epidemic," said Hal Brewster. "I left my truck unlocked ten minutes at the post office. Came back, there's a bag of them on the seat. No note." "That's generosity, Hal." "That's dumping, Louise. I've got forty of my own." Everybody had forty of their own. That was the whole trouble. So an ordinance was proposed. No resident shall leave squash of any kind in or upon the vehicle, porch, or mailbox of another. It passed, twenty-two to three. Hal walked out to the lot feeling that democracy, for once, had worked. His truck was locked. He had made sure. But the bed of a pickup does not lock, and in his lay a zucchini the size of a canoe paddle, with a ribbon on it. There was a note, this time. "Ordinance takes effect in thirty days."

What it is for: A town meeting about surplus zucchini. Trains mock-solemn civic narration and a punchline delivered as a written note.
Coach's note: Watch out for winking at the townspeople. To them this is serious. Read the ordinance like law. The turn is "But the bed of a pickup does not lock." Read the note deadpan, as the note's author would.
What casting listens for: Casting listens for a storyteller's ease, quick sketches of Hal and Louise, and a straight face throughout.

From Humor audiobook scripts

Cream First

Food, a cream tea in DevonMature (55+)Neutral British1 (male)45 secondsabout 46s
I made one mistake in Devon, and I made it in front of witnesses. The scone arrived warm, with a pot of strawberry jam and a dish of clotted cream as thick as butter. I am from Leeds. I did what seemed natural. I put the jam on first. The tearoom went quiet. "You'll be thinking of Cornwall," said the woman at the next table, not unkindly. "They do jam first, over the border. Here it's cream, then jam." "Does it matter?" She looked at me for some time. I did the second half her way. I could not taste the slightest difference, and I had the sense to say that it was much better.

What it is for: A Yorkshireman getting his scone wrong in Devon. Trains a comic silence and a narrator wise enough to lie at the end.
Coach's note: Watch out for rushing past "The tearoom went quiet." That is the laugh, so let the room go quiet too. The woman is helpful, not hostile. The turn is "She looked at me for some time." The last line is diplomacy.
What casting listens for: Casting listens for gentle British comedy, a well-placed pause, and a likeable narrator who knows when he is beaten.

From Travel audiobook scripts

The Immortal Hates Mornings

Grumpy immortal, sunny humanAdult (40-55)Neutral British1 (male)45 secondsabout 50s
Cassius Vane had survived two plagues, one shipwreck, and the entire eighteenth century. He was not sure he would survive his new neighbour. "Good morning!" she called over the fence. It was six. She had a watering can and a sunhat with daisies on it. "It is morning," he allowed. "I made too many muffins. Do you like blueberry?" "I do not like anything." "Great, so you have no objection." She passed the basket over. "I am Poppy. You look like you have not slept in a hundred years." "Two hundred and twelve." She laughed. She thought he was joking. And Cassius, who had not been surprised since the invention of the steam engine, found himself holding a warm muffin, with nothing to say.

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

From Paranormal romance audiobook scripts

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Commercial scripts for men

15, 30 and 60-second spots with invented brands, each from a different industry. See all 508 male commercial reads in the commercial library.

Honest Iron

TrucksAdult (40-55)Neutral American1 (male)60 secondsabout 55s
Some things don't need a sales pitch. A good fence post. A cast-iron skillet. A handshake from a man who's worked the same land his whole life. The Halloran Workhorse was built the same way. Honest steel. A frame that shrugs off the load you knew you shouldn't have piled on. An engine with the muscle to pull the camper up the grade and the manners to get you home. Inside, it's all business. Controls you can work with gloves on. Seats that forgive a fourteen-hour day. And a bed liner that's seen worse than whatever you're about to throw in it. It won't write poems about itself. It'll just be there, every morning, rain or shine, ready to go to work. Just like the folks who drive it. The Halloran Workhorse. Built to be leaned on.

Direction: Rugged, plain-spoken, low and steady; pride without chest-beating
What it is for: Truck long form. Trains weight and authority without the cliché growl.
Coach's note: Watch out for doing the 'truck voice'. This man is proud and understated. The turn is 'It won't write poems about itself', which is the closest he gets to a joke.
What casting listens for: Truck casting listens for someone who has actually worked a long day. Relaxed, grounded, real.

From Automotive commercial scripts

Around Two Thirty

Fourth of July, antacidAdult (30-45)Neutral American1 (male)60 secondsabout 62s
A Fourth of July timeline. Noon. You have one hot dog. Reasonable. Twelve fifteen. Someone says, there's plenty. You have a second hot dog and a burger. Still fine. One o'clock. Your aunt's seven-layer dip. You count the layers. You eat all seven. Two thirty. Ribs. You weren't hungry. That has never stopped you. Four o'clock. Somebody's kid dares you to enter the pie eating contest. You are a grown adult. You win the pie eating contest. Five. Corn. Because it's a vegetable. Nine p.m. The fireworks start. Everyone looks up. You are lying flat on a blanket, not because it's the best view, but because it is the only position available to you. Settlewell antacid tablets. Fast relief from heartburn and that too-full feeling, in cherry or mint. Keep a roll in your pocket. Not for now. For around two thirty. Settlewell. You're going to do it again next year. We'll be here.

Direction: Deadpan narrator reading a timeline of bad decisions with total sympathy
What it is for: Escalating comedy over a full minute. Trains building a list without getting louder.
Coach's note: Watch out for peaking early. Each time stamp is one notch more defeated, not one notch bigger. The turn is 'You win the pie eating contest', and the product copy that follows should be the first straight thing you say.
What casting listens for: Casting listens for a dry build, a clean shift into the product, and a tag with affection.

From Fourth of July commercial scripts

The Kowalczyk Team Is Hungry

Agent / brokerageAdult (30-45)Neutral American1 (male)60 secondsabout 62s
Hey, Riverton! It's The Kowalczyk Team! That's Ko-WAL-chick. Don't worry, you don't have to spell it. You just have to call it. We are hungry. We are local. And we are selling homes all over the Riverton area, seven days a week. Here's how we're different. When you list with The Kowalczyk Team, you get a professional photographer, a video walkthrough, and a marketing plan built for your street. Not a sign in the yard and a prayer. Last spring, the Hendersons called us on a Monday. By Saturday, they had a full open house and more than one offer to choose from. Mrs. Henderson baked us cookies. We accept cookies. Buying? We'll get you in the door before the other guys even see the listing. So call The Kowalczyk Team. Or text us. Or honk when you drive by the office on Fifth Street. We'll wave. The Kowalczyk Team. Say it with us. Ko-WAL-chick. Sold!

Direction: High-energy local radio, a big friendly shout; pure hometown hustle with a laugh on the name
What it is for: Full-tilt local radio read for a real-estate team. Trains sustained energy, clean diction at speed and hitting a name repeatedly.
Coach's note: Watch out for blowing out in the first ten seconds with nowhere left to go. Pace the energy: the story in the middle ('Last spring...') drops to conversational, then build back to the final name call.
What casting listens for: Casting listens for stamina and clarity at high energy, plus a brand name that is crystal clear every time.

From Real estate commercial scripts

Relieved of Duty

NutcrackerAnyAny (character choice)1 (male)30 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.

From Christmas character voice scripts

Crayonauts Launch

Toys, art suppliesAdult (40-55)Neutral American1 (male)30 secondsabout 30s
Mission control, this is Crayonauts. We have liftoff. Sixty-four colours, including Comet Green and Asteroid Orange. Twist-up barrels. No sharpener required. Washable, even from walls. Especially from walls. Status report. Crew has deployed colour to the paper, the table, and the dog. The dog is fine. We have a report of a purple giraffe on the fridge. Can you confirm? Confirmed. The giraffe has a jetpack. Oh, it's beautiful. Crayonauts. Colour outside the lines.

Direction: Mock mission-control, deadpan then bursting with glee
What it is for: A playful art-supply read in a mission-control voice. Trains a mock-serious character with a warm release.
Coach's note: Watch out for staying robotic through the whole thing. The release is 'Oh, it's beautiful.' Mission control is moved by a drawing.
What casting listens for: Casting listens for comic control and the ability to switch register.

From Toys and kids commercial scripts

Scenes with a partner

Two-person scripts with at least one male role. Read one part and have a friend read the other. More in duet and multi-cast scripts.

Route Nine Pharmacy

Hostage negotiationAdult (40-55)Southern US2 (male, male)90 secondsabout 2.1 min

Cast: LUISDANNY

A small-town pharmacy at night, half the lights off — negotiator Luis Ortega, forties, walks in with a paper bag; Danny, twenties, stands behind the counter with a pistol; the pharmacist is tied to a chair in the back

LUISI'm coming in slow. Hands up. I've got a bag.
DANNYStop there. What's in the bag?
LUISTwo burgers, fries and a strawberry shake. They told me you hadn't eaten.
DANNYThey told you wrong. I ate.
LUISWhat'd you eat?
DANNY...Cough drops.
LUISWell, this beats cough drops. I'm putting it on the floor. I'm Luis, by the way.
DANNYI know who you are. You're the talker.
LUISThat's what they call me. I'd rather be the listener, but it doesn't sound as good on a jacket.
DANNYI'm not coming out.
LUISI didn't ask you to. How's Mr Pike doing back there?
DANNYHe's fine. He's mad. He keeps saying I'm ruining his inventory.
LUISThat sounds like him. Sold my mama her pills for twelve years and never smiled once.
DANNYHe smiled at me. Before.
LUISBefore what?
DANNYBefore the insurance said no. My sister's insulin. Three hundred forty dollars. I had eighty.
LUISSo you came for insulin.
DANNYAnd he said he couldn't, and I don't know. I had my daddy's gun in the truck. I don't even know why.
LUISHow much insulin did you take?
DANNYNone. It's still on the counter. I can't even do this right.
LUISDanny. Nobody's hurt. That matters more than you know right now. Put the gun on the floor by the burgers, and I'll carry that insulin to your sister myself.
DANNYThey'll arrest me.
LUISThey will. And she'll have her medicine tonight. Both of those things.
DANNY...Do I get the shake?
LUISYou get the shake.

What it is for: A face-to-face negotiation over burgers. Trains patience, rapport and the courage to wait.
Coach's note: Watch out for Luis pushing. He never asks Danny to come out until Danny has told the story; his job is to be the calmest thing in the room. Danny carries the scene. The turn is 'I can't even do this right', and the shake line lets both men breathe.
What casting listens for: Casting listens for a negotiator whose warmth feels real, and a young man who is ashamed more than dangerous.

From Thriller duet scripts

The Last Seer

Epic fantasy, prophecyAdult (25-40)Neutral American2 (male, female)90 secondsabout 76s

Cast: WOMANMAN

She is the last oracle; he is the soldier sent to protect her — midpoint argument

WOMAN"I've seen how this ends."
MAN"Good. Tell me."
WOMAN"That's not how it works."
MAN"Then what exactly is the use of a seer who won't see?"
WOMAN"One of us lives. I know which one. And I am telling you — as clearly as I am able — that I am not interested in it being me." (Long silence.)
MAN"So you've already decided."
WOMAN"The vision doesn't ask my opinion."
MAN"Then neither do I."
WOMANHe moved to block the path.
MAN"You don't get to show me a future and expect me to walk into it like a good soldier."
WOMAN"You don't have a choice."
MAN"Neither do you. Because I'm not moving."
WOMANShe stared at him — this man who had been assigned to her like a problem to be managed — and felt the vision shift, just slightly, at the edges. She had not accounted for stubbornness this specific. "The fates won't like this," she said.
MAN"The fates can get in line."

What it is for: An argument where both people are right. Stubbornness that comes from care, not ego.
Coach's note: Watch out for making the soldier a hothead. He is calm and immovable; 'Then neither do I' is quiet. The turn is the vision shifting 'at the edges', which belongs to her.
What casting listens for: Casting listens for a seer who sounds certain without sounding mystical.

From Fantasy duet scripts

Find your voice age

If you soundStart withWhat it trains
18-25Video game heroes, coming-of-age memoir, tech and gaming spotsSounding young without playing young
25-45Romance, thriller, car and sports spotsReal-guy reads with energy you can control
40-55Mystery, sci-fi, financial and insurance readsTrust and authority without pushing
55+Memoir, spy thrillers, sitcom couplesWarmth, wit and a slower pace that still moves

Questions

Are these scripts free to use in my demo reel?

Yes. Every script here was written by VO Journey Academy. Practice with them, record them, and use them in auditions, reels and social clips. Please don't resell them or republish them as your own scripts.

What should a male voice over demo include?

Range inside one lane. For a commercial reel, 6 to 8 short clips that each sound like a different spot. For an audiobook sample, one fiction and one non-fiction excerpt, read clean with no music. Our demo team can produce either.

Do I need a deep voice?

No. Casting asks for every kind of male voice. Plenty of specs ask for a regular guy, a young dad or a friendly neighbor. Pick scripts in the range your natural voice lives in.

Can I read a script written for a woman?

Yes, for practice. Lots of our scripts are marked 'any' and work for every voice. On a demo, pick copy that matches how you will be cast.

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Use these freely. Every script in this library 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.