30 scripts written by us, free to practice with, record and put in your reel.
Every one lists voice age, accent and length, so you can pick a read that fits the audition you are chasing.
[Music: a single low piano note, held]
On the night of June the fourteenth, the Carver Feed Store closed at nine. Dana Pell was the last one out. She locked the side door, checked it twice, the way she always did, and walked to the end of the gravel lot.
Her car was still there in the morning. Keys in her jacket pocket. Jacket on the passenger seat.
The road out of town runs past the old quarry. It is two miles of nothing. No houses, no streetlights, one bend where the trucks slow down.
Someone drove that road with her that night. Nobody saw her get in.
[beat]
For eleven years, the people of Harlow County have told each other what they think happened. Some of it is gossip. Some of it is in the case file.
I'm Joanna Reese. This is The Quarry Road Files. Over the next eight episodes, we're going to sort one from the other.
[Music: swells, then out]
What it is for: A host opens a true crime series with the night a teenager went missing. Trains a quiet, controlled read that pulls the listener in without milking the tragedy. Coach's note: Watch out for doing a 'spooky' voice. Real families listen to shows like this, so play it straight and close to the mic. The turn is 'Nobody saw her get in,' where you slow down and let the fact do the work. What casting listens for: Producers listen for someone you would trust with a real story: calm, specific, and never enjoying the darkness.
[Music: soft pulse under]
From Lantern Hill Audio. Every file has a name. Every name had a family. And every family is still waiting for a phone call that never came. Tonight, we open the drawer again.
This is Cold Desk.
What it is for: A short, formal network open for a cold case show. Trains a clean announcer read with weight but no melodrama. Coach's note: Watch out for pushing the voice down to sound serious. Stay in your real range and let the pacing carry the gravity. A small lift on 'Cold Desk' so the title lands. What casting listens for: Casting listens for authority that sounds natural, not a movie trailer voice dropped into a podcast.
[Music: ticking pulse]
Previously, on Ninety Days in Marlow.
The bank manager who swore he never left his office. The cleaner who said she saw him in the car park at six. The CCTV that should have settled it, and the eleven minutes that were never recorded.
This week, we finally spoke to the man who switched the cameras off. It took four months and a lot of letters.
And he wanted to talk.
What it is for: A 'previously on' recap at the top of a serialised true crime podcast. Trains clear, fast storytelling that catches the listener up without rushing the key fact. Coach's note: Watch out for racing through it because it is 'just a recap.' Each sentence is a new clue, so give each one its own beat. The turn is the last line, where the recap becomes a question. What casting listens for: Producers listen for clarity at speed and a voice that can steer the listener through facts without losing them.
[Music: back in, low]
Welcome back. Where were we? Right. So, day three of deliberations. The vote is eleven to one. And juror number seven, the retired schoolteacher, has just asked to see the receipts again.
What it is for: The host comes back after a break and pulls the listener straight back into the story. Trains re-entry energy: picking up a thread mid-tension. Coach's note: Watch out for coming back too bright, like a radio DJ. The listener left in a tense moment, so return to that same temperature. Land 'eleven to one' cleanly. What casting listens for: Casting listens for continuity: the host should sound like the same person, in the same room, as before the break.
[Music: slow acoustic guitar]
If you grew up in Cass Valley, you know the feed mill, the Baptist church, and the Dairy Ring on Route 9. And you know about the Whitlow fire, even if nobody talks about it at Sunday supper.
I was nine years old that summer. I remember the smell more than anything. It hung over the whole valley for three days.
Five people lived in that house. Four of them got out. The sheriff called it an accident before the ashes were cold.
My granddaddy didn't believe that. Neither did half the town. But in a place this small, you don't say it out loud. You just say it at the kitchen table, real quiet, after the kids go to bed.
I'm Wade Tolliver. I'm a grown man now, and I'm saying it out loud.
This is Sundown in Cass Valley.
[Music: guitar rings out]
What it is for: A local host opens a true crime show about a case in his own small town. Trains a personal, conversational read where the host is part of the story. Coach's note: Watch out for leaning on the accent like a costume. Use your natural Southern voice and keep it conversational, like you are telling this on a porch. The shift is 'I was nine years old,' where it stops being a case and starts being a memory. What casting listens for: Producers listen for authenticity and warmth: a real voice from a real place, not a performance of one.
[Music: upbeat, light percussion]
Every week I sit down with someone who built a business from nothing, and I ask them the questions their investors never did. What went wrong. What it cost. And what they'd do differently if they started again tomorrow. Some of them made it big. Some of them lost everything and started over.
No buzzwords. No victory laps. Just the numbers and the people behind them.
I'm Priya Nair. This is Margins.
What it is for: A crisp weekly business show open. Trains confident, friendly authority: smart without sounding like a lecture. Coach's note: Watch out for over-selling every line like a commercial. You are a host, not an ad. Smile on 'and what they'd do differently,' that is where the show's personality lives. What casting listens for: Business podcast producers listen for a voice that sounds credible to founders and still easy to listen to on a commute.
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The Small Shop Hour
Business, small business announcer openMature (55+)Neutral AmericanOne narrator15 secondsabout 14s
[Music: easy acoustic bed]
From the back office to the front counter. Real advice for people who sign the paychecks and sweep the floors. Pour a coffee. It's time for The Small Shop Hour.
What it is for: A friendly, older announcer welcomes listeners to a show for small business owners. Trains warmth and steady pacing in a short open. Coach's note: Watch out for rushing to fit it in. Fifteen seconds is plenty for these words, so take your time and sound like someone who has run a shop for thirty years. What casting listens for: Casting listens for a trustworthy, neighbourly voice that small business owners would happily hear every week.
JENAnd we're back. Marcus, before the break, you said hiring a CFO at ten employees was, quote, 'lighting money on fire.'
MARCUSI stand by it.
JENI've had three emails already.
MARCUSFrom CFOs?
JENFrom CFOs. Very polite, very angry.
MARCUSOkay, fair. Let me put it a better way. You don't need a CFO. You need someone who will tell you the truth about your cash every Friday.
JENThat's called a CFO, Marcus.
What it is for: Two co-hosts come back from a break mid-argument. Trains natural back-and-forth, interruption and keeping energy up without shouting. Coach's note: Watch out for waiting politely for your turn. These two know each other well, so pick up cues fast and let the overlap on 'okay, fair' feel real. Whoever reads JEN drives the scene. What casting listens for: Producers listen for chemistry: two people who sound like they actually enjoy disagreeing with each other.
Founders After Dark
Business, late-night show openAdult (30-45)Neutral AmericanOne narrator60 secondsabout 59s
[Music: mellow keys, slow beat]
It's late. The kids are asleep, the inbox is finally quiet, and you're sitting at the kitchen table with a spreadsheet you don't want to open.
You know the version of starting a business that gets talked about at conferences. The big raise. The launch party. The photo with the ribbon and the giant scissors.
And then there's the other part. The month you couldn't pay yourself. The partner who walked. The night you seriously thought about getting a regular job and nobody would have blamed you.
That's what this show is about. Not the highlight reel. The part after the lights go off.
Every week I talk to a founder about the hardest stretch of their business, and how they got through it, if they got through it at all.
I'm Theo Marsh. Make yourself a tea. This is Founders After Dark.
What it is for: A relaxed late-night business show about the side of entrepreneurship people do not post about. Trains an intimate, low-key host voice that still holds attention for a full minute. Coach's note: Watch out for going so soft that it turns sleepy. Keep the energy low but the intention sharp. The turn is 'And then there's the other part,' where the host gets honest. What casting listens for: Casting listens for a voice that can be quiet and still compelling, the kind of host you keep listening to at midnight.
SAMOkay. Hi, everybody. Welcome to Two Idiots and a Microphone. That's the intro.
What it is for: A messy, funny cold open where two friends start the show mid-conversation. Trains comic timing, reacting and playing a real friendship. Coach's note: Watch out for laughing at your own lines. Let the other person be funny and react honestly. The button is 'that's the intro,' so throw it away, do not punch it. What casting listens for: Comedy producers listen for timing and a relaxed, likeable vibe that makes listeners feel like the third friend at the table.
[Music: pompous brass fanfare]
All rise. Court is now in session. Today's cases include a stolen parking spot, a group chat betrayal, and the last slice of pizza.
The honourable judges are seated. This is The Petty Court.
What it is for: A mock-serious announcer opens a comedy show where listeners send in tiny disputes. Trains playing the joke completely straight. Coach's note: Watch out for winking. The comedy only works if you sound like you are opening the Supreme Court. Give 'the last slice of pizza' the same weight as everything else. What casting listens for: Casting listens for deadpan gravitas: a big, serious read that knows exactly how silly it is without showing it.
[Music: jaunty ukulele]
Hello, and welcome to Bad Advice from My Nan. My nan is eighty-seven. She has never once used a seatbelt, she thinks the internet is a building in Leeds, and she once told me the cure for a broken heart is a pickled egg.
I love her. But every week, I test one of her tips on a real problem. So you don't have to.
What it is for: A British host introduces a comedy podcast built around his grandmother's terrible life tips. Trains dry, affectionate comic delivery. Coach's note: Watch out for going too big on the jokes. British comedy hosting is usually dry, so underplay it and let the details be funny. Warm up on 'I love her,' you mean it. What casting listens for: Producers listen for a dry, warm wit and an easy, chatty rhythm that does not sound scripted.
[SFX: folding chairs, a coffee urn bubbling]
Okay, everybody, let's find a seat. Grab a coffee if you want one. There's decaf in the green pot. We can't have anybody getting too perky.
[pause]
Welcome to Dad Jokes Anonymous. This is a safe space. Nobody here is going to roll their eyes at you. Nobody here is going to say, 'Dad, please, my friends are in the car.'
We all know why we're here. Some of us said, 'I'm hungry,' and someone said, 'Hi, Hungry, I'm Dad.' Some of us pointed at a cemetery and said people are dying to get in. Some of us did both on the same road trip.
It's okay. The first step is admitting it.
[clears throat]
Hi. My name is Gary. And it's been four minutes since my last pun.
[beat]
It was about the coffee. I said it was grounds for celebration.
Let's begin.
What it is for: A gentle, funny host opens a show framed as a support group for dads who cannot stop making puns. Trains comic sincerity and pause timing over a full minute. Coach's note: Watch out for rushing past the jokes. Every pun needs a tiny beat after it, like you are waiting for a groan that never comes. The turn is 'Hi. My name is Gary,' where the host confesses. What casting listens for: Casting listens for lovable warmth and timing, the voice of the uncle everyone secretly enjoys at Thanksgiving.
Slow Mornings
Wellness, guided show openAdult (30-45)Neutral AmericanOne narrator30 secondsabout 30s
[Music: soft pads, birdsong]
Good morning. Before you check your phone, before the kettle, before the list in your head starts talking, just notice where you are.
The weight of your feet. The air on your face. Unclench your jaw. Let your shoulders drop. One easy breath in, and out.
Let's start there.
[pause]
This is Slow Mornings. I'm Anna Leigh, and for the next ten minutes, there is nowhere else you need to be.
What it is for: A calm open for a morning wellness podcast that eases the listener into the day. Trains a soft, unhurried read with real breath in it. Coach's note: Watch out for breathy, whispery 'meditation voice.' Keep it a real person speaking gently, with your full voice just at a lower volume. Take the full pause after 'Let's start there.' What casting listens for: Wellness producers listen for calm that sounds lived-in, a voice listeners will want in their ears first thing in the morning.
[Music: chilled beat]
G'day, and welcome back to The Recovery Room. The show where the hardest workout of the week is a nap, a stretch, and a proper feed. Feet up. Let's chat.
What it is for: An upbeat Aussie host opens a show about rest days and recovery for athletes. Trains bright energy that stays relaxed. Coach's note: Watch out for turning it into a gym hype read. The show is about rest, so keep the smile and the pace easy. Lift slightly on the title. What casting listens for: Casting listens for friendly, sunny energy that feels like a good mate, not a drill sergeant.
Gentle Notes for Hard Days
Wellness, mental health host openMature (55+)IrishOne narrator60 secondsabout 60s
[Music: gentle fiddle, very low]
Hello, you. I'm glad you pressed play.
Maybe today was fine. Maybe today was the kind of day where getting out of bed counted as the main event. Either way, you're here, and that's enough for now.
My name is Nuala Brennan. For forty years I worked as a nurse, mostly nights, mostly in rooms where people were having the worst day of their lives. And what I learned is that nobody needs a speech. They need someone to sit with them for a while.
So that's what we'll do. Each week, a short story, a few honest words, and a little bit of quiet.
You don't have to feel better by the end of this. You don't have to fix anything. You just have to listen, if you want to.
This is Gentle Notes for Hard Days. Put the kettle on. I'll wait.
What it is for: An older Irish host opens a mental health podcast for people going through a rough patch. Trains compassion and directness in the same read. Coach's note: Watch out for sounding pitying or saccharine. This host is kind but honest, so speak to the listener as an equal. The turn is 'You don't have to feel better by the end of this,' which should feel like a weight lifted. What casting listens for: Producers listen for a voice that feels safe and grounded, someone who has been through things and does not need to say so.
[Music: soft drone, fading]
That's the end of tonight's story. You don't need to do anything now. The sheets are cool, your shoulders are heavy, and the day is finished with you.
If a thought comes, let it pass by like a car on a far-off road. Let your breathing find its own slow rhythm.
Thank you for spending this time with me. Sleep Well, Sleep Deep will be here tomorrow night.
Goodnight.
What it is for: The closing words of a sleep podcast, read so the listener can drift off. Trains a descending, slowing read where every line gets quieter and calmer. Coach's note: Watch out for keeping the same pace all the way through. The whole outro should slow down, line by line. By 'Goodnight,' you should be barely moving. What casting listens for: Casting listens for control at low volume and a voice so steady it could put a room to sleep without sounding bored.
[Music: vintage strings]
From the Greywater Audio archive. One day in history, one story you didn't learn at school, told in the time it takes to drink a cup of coffee. This is Ten Minutes Past.
What it is for: A classic announcer open for a short daily history podcast. Trains a measured, old-radio storytelling tone. Coach's note: Watch out for sounding like a dusty lecture. History can be gripping, so give 'on this day' a spark. Let 'Ten Minutes Past' land with a little smile. What casting listens for: Casting listens for a classic, trustworthy storyteller's voice that makes the past feel close.
[SFX: wind, waves breaking on rock]
Seventeen miles off the coast, there's a lump of black rock the size of a football pitch. No trees. No beach. No harbour. Just a stone tower, a little house beside it, and the sea on every side.
For ninety years, three men at a time lived out there. They trimmed the wicks, wound the clockwork, polished the brass, and wrote in the log book every single night. Weather. Ships passing. Who had a cold. What they ate for tea.
The log books survived. Shelves of them. And in those plain little lines, you can hear what it was like. The boredom. The jokes. The storms that lasted for weeks.
And then, one December, the light went out. For two whole nights.
I'm Callum Ross. This is The Lighthouse Keepers' Log, and this season, we find out why.
What it is for: A Scottish host opens a history series about remote lighthouse life. Trains vivid, grounded description and a slow build. Coach's note: Watch out for rushing the imagery. Paint each picture before moving to the next, and give the weather lines some bite. The turn is 'And then, one December, the light went out.' What casting listens for: Producers listen for a natural storyteller who makes a listener see a place they have never been.
Forgotten Inventors, Season Two
History, season trailerAdult (25-40)Neutral AmericanOne narrator30 secondsabout 29s
[Music: playful, bouncy]
The woman who invented the folding ladder and never made a cent. The baker who accidentally created a new kind of glue. The teenager whose science fair project ended up in every hospital in the country.
You've used their ideas. You've never heard their names. And a few of them were robbed in broad daylight.
Forgotten Inventors is back for season two. New episodes every Tuesday, wherever you listen.
What it is for: A podcast season trailer that teases upcoming episodes. Trains a lively promo read inside a podcast format, with quick hooks and a clear call to action. Coach's note: Watch out for every tease sounding the same. Each invention gets its own little colour: curious, then funny, then surprising. Bring it home on 'new episodes every Tuesday.' What casting listens for: Casting listens for curiosity and pace, a host who sounds genuinely excited about the strange corners of history.
[Music: low drums, distant choir]
Four brothers. One throne. A kingdom split down the middle by blood, marriage and a very old grudge.
They signed treaties in the morning and broke them by supper. They swore oaths on relics and on their mothers. And one by one, they disappeared. Their mother outlived three of them, and she wrote everything down.
This is Hollow Crown Chronicles. Episode one: the coronation nobody came to.
What it is for: A narrated open for a medieval history podcast with a dramatic edge. Trains rich, theatrical storytelling that stays grounded in fact. Coach's note: Watch out for going full Shakespeare. Give it drama, but keep the consonants crisp and the sentences clear. Drop to near silence on 'one by one.' What casting listens for: Producers listen for a big, rich narrator voice with the restraint to sound like history, not fantasy.
Story Rocket
Kids, story podcast openAdult (25-40)Neutral AmericanOne narrator30 secondsabout 32s
[Music: bouncy synth, rocket rumble]
Hey, Story Rocket crew! It's Captain Juno, and I need your help to blast off. Are your seatbelts on? Click!
Great. Count down with me. Five. Four. Three. Two. One.
[SFX: rocket launch]
We're flying! Now wave goodbye to Earth. Bye, Earth! Look out the window. Can you see the clouds? We're going right through them.
Today we're landing on a planet made entirely of pancakes. Hold on tight, and don't forget the syrup.
What it is for: A lively host opens a storytelling podcast for kids aged five to eight. Trains big, warm energy with space for the young listener to join in. Coach's note: Watch out for rushing the countdown. Kids at home are counting along, so give each number a real beat. Keep the smile, but don't shout. What casting listens for: Kids' audio producers listen for a host parents trust and kids follow: big, clear and genuinely playful.
Why Is the Sky?
Kids, science show openAdult (25-40)Neutral AmericanTwo narrators (duet)60 secondsabout 67s
Cast: DR. ROSAPIP
Music: twinkly xylophone
DR. ROSAHello, and welcome to Why Is the Sky? I'm Dr. Rosa.
PIPAnd I'm Pip! And I have a question.
DR. ROSAYou always have a question.
PIPThis one's a good one. Why don't spiders get stuck in their own webs?
DR. ROSAOoh. That is a good one.
PIPI know. I thought about it at breakfast. And then I thought about it at lunch. And then I asked my mom and she said, ask Dr. Rosa.
DR. ROSAWell, your mom is very smart. Here's a clue. Not every part of a spider web is sticky.
PIPWait, really?
DR. ROSAReally. Some threads are sticky, and some are not. And the spider knows exactly which is which.
PIPSo it's like a secret path?
DR. ROSAExactly like a secret path. Let's find out how they do it.
PIPOkay. But after that, can we do why cats purr?
DR. ROSAAfter that, we can do why cats purr.
What it is for: A host and a curious kid co-host open a science podcast for children. Trains two distinct voices, natural questions, and the rhythm of a teacher and a learner who enjoy each other. Coach's note: Watch out for making PIP too babyish. Pip is about eight, so keep the voice real and the questions honest. Whoever reads DR. ROSA should never sound like she already knows Pip's next question. What casting listens for: Casting listens for clear, kind explanation and a believable kid voice with real curiosity, not a cartoon squeak.
Bedtime at Willow Lane
Kids, bedtime story openMature (55+)Neutral BritishOne narrator15 secondsabout 14s
[Music: music box]
Hello, little one. Teeth brushed? Pyjamas on? Good. Snuggle in under the covers, and I'll tell you what happened at Willow Lane today. The foxes had a very busy day. Ready?
What it is for: A grandparent-style host opens a bedtime story podcast for young children. Trains a cosy, slow read that settles little listeners. Coach's note: Watch out for speeding up at the end. This is the moment kids are settling down, so let the last line slow and soften. What casting listens for: Casting listens for a cosy, safe voice that parents would happily leave playing as their child falls asleep.
[Music: sneaky plucked strings]
Welcome to Mystery Club for Kids, where every listener is a detective. I'm Agent Mo.
This week, someone stole the prize pumpkin from the Fernbrook Fair. We have three suspects: a farmer, a florist and a magician. We also have two muddy footprints and one very nervous goat.
Your job? Listen out for a green umbrella. It's the most important clue of all.
Ready, detectives? Let's crack this case.
What it is for: A young host opens a kids' mystery-solving podcast and gives the listeners a clue to look out for. Trains excited energy with clear, specific instructions. Coach's note: Watch out for burying the clue. The whole open sets up one detail, the green umbrella, so make sure it lands clearly. Drop into a stage whisper on 'Ready, detectives?' What casting listens for: Producers listen for infectious excitement and clear diction that keeps a ten-year-old leaning in.
[Music: spacious synth]
There's a moon in our solar system with an ocean under the ice. There's a star that blinks on and off every few hours, and we still don't know why. And there's a scientist somewhere right now, staring at a screen, about to change what we think we know.
I'm Lena Ortiz. This is Orbit and Ink. Every week, one question, one guest, and no homework. Let's go looking.
What it is for: An open for a science podcast about space, written for curious adults rather than experts. Trains wonder that stays credible. Coach's note: Watch out for getting so awed it sounds fake. Let the facts be the wow and keep your read curious and grounded. The turn is 'and we still don't know why.' What casting listens for: Casting listens for a voice that makes big science feel friendly and true, never like a sales pitch.
KATEWelcome to Lab Coat Optional, the science show for people who failed chemistry. I'm Kate. I have a doctorate.
LIAMI'm Liam. I have a fridge magnet shaped like a microscope.
KATEToday, we're talking about why your fingers go wrinkly in the bath.
LIAMI've always assumed it's because they're scared.
KATEIt's not because they're scared. It's actually your nervous system, and it's very clever.
LIAMSo they're clever and scared.
What it is for: Two Australian co-hosts open a light-hearted science show. Trains quick banter and comic contrast between a serious scientist and a curious goof. Coach's note: Watch out for both hosts sounding the same. Pick a clear contrast: KATE is dry and precise, LIAM is excitable. Let Liam's last line run away from him. What casting listens for: Producers listen for chemistry and contrast, two voices a listener can tell apart instantly.
[Music: driving news theme]
A new species found in a parking lot. A comet heading our way, slowly. And the truth about your morning coffee. Spoiler: it's fine. Seven days of science in seven minutes. This is The Deep Field Report.
What it is for: A crisp, newsy announcer open for a weekly science news podcast. Trains clean, authoritative pacing with headline energy. Coach's note: Watch out for monotone 'news voice.' Each headline is a different story, so give each one a small change in colour. Pop the show title. What casting listens for: Casting listens for a clear, confident newsreader who still sounds interested in the news.
[Music: punchy drum loop]
Two minutes left. Up by four. Ball in our hands. All we had to do was run the clock. Hand it off, fall forward, let the clock tick. That's it.
And what did we do? We threw it. Deep. Into double coverage. On third and two.
I watched that ball in the air for what felt like an hour. I knew. You knew. The guy selling popcorn in section two-twelve knew.
[beat]
But here's the thing. I've been doing this show for six years, and I've learned something. One bad call doesn't make a bad season. One loss in October doesn't decide anything. The teams that matter are the ones that show up the next Sunday and fix it.
So today, we're not just going to yell about it. Okay, we're going to yell about it a little. Then we're going to figure out what happens next.
I'm Rico Danes. This is Halftime Thoughts. Let's go.
What it is for: A sports host opens a weekly show with a passionate rant about a heartbreaking loss. Trains building energy and rhythm in a talk-show read. Coach's note: Watch out for peaking too early. Start frustrated but in control, and let it build sentence by sentence. The turn is 'But here's the thing,' where the host steps back and gets thoughtful. What casting listens for: Sports producers listen for real passion, natural rhythm, and someone who can rant and still sound reasonable.
Clubhouse Chat Outro
Sports, show outroMature (55+)Neutral AmericanOne narrator15 secondsabout 16s
[Music: organ riff]
That's our show for this week. Thanks for pulling up a stool in the Clubhouse, and for putting up with my old stories. Keep your glove oiled and your hopes up. See you at the ballpark.
What it is for: A veteran sports host signs off a baseball podcast. Trains a warm, easy sign-off with a little nostalgia. Coach's note: Watch out for throwing away the last line. 'See you at the ballpark' is the host's signature, so give it a small, warm lift. What casting listens for: Casting listens for a classic, comfortable voice that sounds like years behind a microphone.
Reading alone only gets you so far
Members bring scripts like these to class every week and get feedback on the spot, from working coaches.
Use these freely. Every script here was written by VO Journey Academy.
Practice with them, record them, post them as demos, reels or social clips, and use them in auditions.
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