12 hand-picked scenes and character reads, out of 570 acting scripts in our free library. Every one tells you who the character is and what casting listens for.
Written by the VO Journey Academy coaching team. Updated 3 October 2026.
Voice acting means playing a person, not reading words. These scripts give you someone to be: a sister on a doorstep, a cartoon creature, a villain with a plan. Read the coach's note before your first take. Then make one clear choice about who you are and who you're talking to, and commit to it. You can always make a different choice on the next take.
Scenes for two
Read with a partner, or record both parts yourself. More in two-person scripts.
Opening — enemy general and queen, first meeting across a negotiation table
WOMAN"I expected someone older."
MAN"I expected someone less composed, given the circumstances."
WOMAN"My city is surrounded. Composure is the one thing I still control."
MAN"A fair point. I'll remember that." He set his sword on the table, hilt toward me. "I'm not here to accept your surrender."
WOMAN"Then why are you here?"
MAN"Because the Emperor is wrong about this war. And I need someone on the inside of these walls who knows it too."
WOMANI looked at the sword. At him. "That's either the most dangerous thing anyone has said to me in ten years of war."
MAN"Or?"
WOMAN"Or the most useful." I did not touch the sword. I sat back and studied him with the particular attention of a woman who has survived this long by reading people correctly. "Talk," I said. "Quickly."
What it is for: A first meeting played as a negotiation. Two people of equal rank measuring each other. Coach's note: Watch out for going regal. She is exhausted and holding it together; he picks every word carefully. The turn is the sword set down hilt first, and her 'Or the most useful.' What casting listens for: Casting listens for status: two powerful people, neither of whom has to raise their voice.
Time loopYoung adult (18-25)Neutral American2 (female, female)1 minuteabout 88s
Cast: JUNMAYA
A subway platform, 4:06 p.m., for the two hundredth time — Maya and Jun, both twenties, the only two people who know the day keeps repeating
JUNFour minutes to the train.
MAYAI know. I always know. Did you bring it?
JUNThe umbrella. Yes. Why an umbrella? It's not raining.
MAYALoop one-ninety-two, you said the man in the grey suit could trip on the stairs if someone's umbrella was sticking out.
JUNI said that?
MAYAYou say a lot of things. You forget them. I don't.
JUNThat's not fair. I remember most of it.
MAYAYou remember the loops. You don't remember the conversations. You've told me your middle name eleven times.
JUNWhat is it?
MAYAHyun. Stop it. Three minutes.
JUNSo he trips, misses the train, and...
MAYAThe train's fine. It's always fine. He goes up the stairs, crosses Fourth, and the truck—
JUNSo we trip him.
MAYAWe trip him.
JUNAnd then what? We wake up tomorrow? Actual tomorrow?
MAYAI don't know. I've watched a stranger die two hundred times, Jun. I just want to find out what Wednesday looks like.
JUN...Give me the umbrella. I'll do it.
MAYAWhy you?
JUNBecause if it works, I want you to remember that I did something.
What it is for: Two friends stuck in a time loop try one more rescue. Trains weariness against hope. Coach's note: Watch out for Maya sounding bored. She is exhausted, which is different: two hundred loops of grief. Jun is lighter and forgetful and drives the energy. The turn is Jun's last line; it is the reason Jun volunteers, and it lands on Maya. What casting listens for: Casting listens for two young women with clearly different tempos, and a funny scene that turns sincere without warning.
The doorway of a teenager's empty bedroom. JORDAN and ALEX, both late 40s, married twenty years, hold paint charts
JORDANI like the grey.
ALEXWhich grey?
JORDANHarbour Mist.
ALEXThey're all Harbour Mist. It's a chart of forty Harbour Mists.
JORDANThe third one down. It's calm. You could work in here.
ALEXI don't want to work in here.
JORDANYou said you wanted an office.
ALEXI said that three years ago.
JORDANWell, now there's room.
ALEXThere's room because he's in Portland.
JORDANHe's in Portland because he got in. That's good. We said that's good.
ALEXIt is good.
JORDANThen what?
ALEXThere's a note on the wall behind the door.
JORDANWhat note?
ALEXIn pencil. From when he was nine. It says "Mom and Dad measured me here." And a line.
JORDAN...I didn't know that was there.
ALEXI found it when I took the posters down.
JORDANOkay.
ALEXOkay what?
JORDANOkay, we paint round it. We tape it off. Harbour Mist everywhere except that one line.
ALEXThat's going to look ridiculous.
JORDANYeah. It is.
What it is for: A married couple, a paint chart and a bedroom their son has not slept in for a year. Grief disguised as home improvement. Coach's note: Watch out for letting Jordan be the villain. Jordan is trying to move them on. Alex is not against the paint; Alex is against the tape. Let the silence after 'He left a note on the wall' sit. What casting listens for: Casting listens for a long marriage in the rhythm: interrupting, finishing thoughts, knowing when to stop.
All 12 scenes and character reads on this page in one printable sheet. Print two copies and read it with a friend. Leave your email and it opens straight away.
[A cartoon desert town. SHERIFF SPIKE, a tall cactus wearing a badge, squints at the horizon]
This town ain't big enough for bland salsa.
[beat]
I've seen chips go dry. I've seen dips go watery. I've seen a man put ketchup on a nacho.
[breath]
Dusty Mesa Salsa. Fire-roasted tomatoes, real chiles, chunky enough to stand up on a chip.
[beat]
Mild, medium, or Sheriff's Hot. Choose your heat, partner. I'd go mild. You look nervous.
What it is for: A cactus sheriff laying down the law on bland snacks. Trains a Western parody character with a clear flavor lineup. Coach's note: Watch out for going so slow and gravelly the lineup gets lost. The drawl is the flavor, but 'Mild, medium, or Sheriff's Hot' is the menu. The last line is a quiet, dry dig. What casting listens for: Casting listens for a fun genre-parody voice that still sells the product.
[Underwater. A long, silver eel curls around a drowned anchor and speaks close to the sailor's ear]
Ssso. Another sailor sinks. Don't struggle, little one.
My mistress has been waiting. She likes guests.
She will offer you a bargain. Say yes, and breathe again.
Say no, and ssstay.
What it is for: A sea witch's eel familiar whispers a warning to a sailor. Trains a hissing, slithery texture at low volume. Coach's note: Watch out for hissing so hard that you spray and the words vanish. Stretch the s-sounds gently, keep the rest of the words clear, and stay close to the mic at low volume. What casting listens for: Casting listens for a creepy, intimate creature texture that stays easy to understand.
[Upbeat preview music. JUNPEI, the hero, talks straight to the audience]
Hey, it's me, Junpei! Next time on Ember Crown Academy...
Midterms are here, and I haven't studied at all! Worse, my roommate turned my textbook into a frog! And the frog is smarter than me!
[beat]
Can I pass the exam, rescue my textbook, and still make the big tournament?
Next time: "The Frog Knows Everything!"
See you there! Probably! Unless I fail!
What it is for: The classic hyper episode preview, straight to the audience. Trains fast, bright energy with clean diction. Coach's note: Watch out for running out of steam halfway. Every sentence gets new air and a new kick. Hit the episode title clearly; it's the one line an editor has to use. What casting listens for: Casting listens for relentless bright energy and diction that stays clean at speed.
[Voiceover. A rainy street, flashing lights. DETECTIVE MARLOWE HAYES steps under the tape]
It had been raining on Calloway Street for three days. The city never cleans itself. It just gets wetter.
The body was a man named Felix Quade. Owned a clock shop on the corner. Nice suit. Cheap shoes. That's always the first lie a man tells.
[crouches]
The uniforms had already decided it was a mugging. They like muggings. Muggings fill out the paperwork for you.
No wallet, but his watch was still on his wrist. Gold. Expensive. Stopped at eleven forty.
A thief who leaves the gold isn't a thief.
[stands, looks at the shop]
The lights were on in the clock shop. Somebody had locked the door from the inside.
[beat]
I've been doing this job for twenty-two years. In that time I've learned two things.
Everybody lies.
And clocks don't stop on their own.
[walks toward the shop]
Time to find out who was running late.
What it is for: A detective hero's inner monologue over a rainy crime scene. Trains a low, close, rhythmic noir voiceover that guides the player. Coach's note: Watch out for copying old-movie noir with a fake gravel. Find the rhythm in the writing and drop your voice into a relaxed low place, close on the mic. The detective is tired, not cool. What casting listens for: Casting listens for a voice that can carry long stretches of voiceover with mood and intelligence, without parody.
Combat barks, military sci-fiAdult (25-40)Any1 (any)30 secondsabout 36s
[Session note: medic barks. One line per take]
[healing player]
Hold still. Hold still! You're fine. You're fine. Okay, go!
[squadmate down]
Man down! I need cover, now!
[out of med kits]
I'm dry on med kits! Nobody get shot for a minute!
[player ignores warning]
I said stay behind cover, not go for a stroll!
[revive success]
Welcome back. Don't make that a habit. I only have so many of those left.
[low health warning]
You're bleeding everywhere. Come to me, right now! I can't patch you from over here!
What it is for: Short combat lines for a squad medic. Trains urgency with clear diction over noise. Coach's note: Watch out for screaming every line until it all sounds the same. A medic stays focused. Keep a firm, projected voice, sharpen the consonants so it cuts through gunfire, and save full volume for 'Man down!' What casting listens for: Casting listens for authority and clarity under pressure, barks that cut through a busy mix.
[A lighthouse on the island of Saltgrave. The lamp is dark. ABEL MOREAU, the keeper, sits by a cold stove]
[first meeting]
You came by the night boat. Nobody comes by the night boat anymore.
Sit, if you like. The chair's dry. Mostly.
[quest offer]
The lamp went out three nights ago. I need someone to climb the stairs and light it again. One hundred and twelve steps. I used to count them going up. Now I count them going down, to make sure I get to the bottom.
The oil's in the store room. The matches are in my coat. Don't open the door at the top until you've lit the lantern. And if you hear knocking, don't answer it.
[player asks why]
Because there's nothing out there to knock. We're on the top of a tower, friend. Over the sea.
[quest active, check-in]
Still dark. The ships can't see us. Neither can the things below them.
[player returns, quest complete]
There. You see the light? You did that.
[beat]
Did you hear it? The knocking?
[he nods slowly]
Then it knows your name now too. Don't worry. It only comes when the lamp goes out.
[goodbye]
Go careful on the boat back. And whatever you do, don't let the lamp go out.
What it is for: An eerie lighthouse keeper gives a quest that the player slowly realises is a warning. Trains quiet dread, restraint and a long held tension. Coach's note: Watch out for going spooky too early. The horror lands only if the keeper sounds almost normal at first. Keep the volume low and close to the mic, and let the menace come from what he says, not from a creepy voice. Stay relaxed so the low register doesn't get creaky by the end of the session. What casting listens for: Horror casting listens for stillness and control. The scariest NPCs sound calm, and the actor has to sustain that across a long session.
I've roped cattle. I've broke horses. I've slept on open ground in a hailstorm.
Nothin' prepared me for downward dog.
My granddaughter signed me up. Said it'd loosen me up. She was right. Don't tell her.
Now I do it every mornin' on my Dustrider mat. Thick enough for old knees. Grippy enough I don't slide off it like a greased pig.
Dustrider Yoga Mats. Saddle up. Then lie down.
Direction: Slow, dry old rancher, fireside pace; a little embarrassed to be admitting this What it is for: Unhurried character comedy where the jokes come from rhythm and understatement. Coach's note: Watch out for playing the cowboy as a cartoon. He's a real man with a real granddaughter. 'Don't tell her' is thrown away under the breath. Don't speed up for the product line; he talks at one speed. What casting listens for: Casting listens for authenticity in the accent and a deadpan that never begs for the laugh.
TAYLORSo, we're refreshing your look for a younger audience. Sunglasses. A skateboard. Maybe a little rap?
BUZZKid. I've been on this box thirty years. I've been a pirate bee. A cowboy bee. One year they made me a surfer bee. I can't swim. I'm a bee.
TAYLORThat's what makes you iconic!
BUZZYou know what makes me iconic? The cereal. Crunchy little oat rounds, real honey, whole grain. Kids like it. Parents like it. That's the whole pitch.
TAYLOROkay, but what if you said it on a skateboard?
BUZZWhat if I said it sitting down?
TAYLORWhat if you said it sitting down on a skateboard?
BUZZ...Fine. Just this once.
TAYLORAmazing! And, action!
BUZZHummingdale Honey Crisps. Still crunchy. Still honey. Still me. Now get me off this thing.
TAYLORLegend. Absolute legend.
Direction: BUZZ is a weary veteran mascot, dry as toast; TAYLOR is a relentlessly upbeat young brand manager What it is for: Generational comedy between scene partners, with the old pro delivering the real sell. Coach's note: Watch out for BUZZ being cruel to TAYLOR. He's tired, not nasty, and he's proud of the cereal; his product speech is the most sincere line in the spot. TAYLOR never hears the sarcasm. The timing peak is the pause before 'Fine.' What casting listens for: Casting listens for chemistry: the veteran's deadpan only works if the partner is truly delighted.
I am Bjorn of Longship Movers!
For too long, the movers of this land have treated your belongings like plunder!
Not we! We carry your grandmother's china like the treasure of kings! We wrap your sofa in blankets thick as a winter pelt!
We lift! We haul! We do not pillage!
Local and long distance. Free quotes. Very strong men and women.
Longship Movers! We conquer only the stairs!
Direction: A roaring Viking chieftain rallying his warriors, fist on the table, horn raised What it is for: Big declamatory character work that still lands practical details like free quotes. Coach's note: Watch out for losing the listing in the roar. 'Local and long distance. Free quotes.' needs to be crisp, so bark it like battle orders rather than dropping to announcer voice. What casting listens for: Casting listens for commitment: a voice that can fill a longhouse and still sound like it's selling.
A big, clear character that still sounds like a real person.
Video game
Short lines with a whole backstory behind them, and energy you can repeat take after take.
Comic commercials
Commitment and timing. The joke only lands if you believe it.
Questions
What's the difference between voice acting and voice over?
Most people use the words for the same thing. When people say voice acting they usually mean character work, like animation and games. Voice over also covers commercials and narration.
How do I practice a two-person scene alone?
Record one part and leave gaps for the other. Play it back and read the second part into the gaps. Or swap parts with a friend on a video call.
Do I need to do funny voices?
No. Start with your own voice and a clear choice about the character. Most of the time, a small change in attitude does more than a big change in sound.
Are these free to use in my reel?
Yes. Every script here was written by VO Journey Academy. Record them and use them in reels, auditions and social clips. Just don't resell them as scripts.
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.