A voice actor resume is a one-page list of your voice credits grouped by type of work (commercial, animation, video games, audiobooks, narration), plus your union status, contact or agent details, links to your demos, training, home studio set-up and any languages or accents you can perform on the spot. Your demos do most of the selling, so keep the resume short, honest and easy to scan.
On this page
Yes, but it plays second fiddle to your demos. In her introduction to voice agents, Kym says a reel is the main thing you need to approach a voice agent, and that a resume matters less when you're starting out. Once you have one, a strong list of voice credits helps, because it shows agents and clients you keep booking.
Our voice-over expert, actor and voice-over teacher David H. Lawrence XVII, adds that your credits will also live on profiles such as Voice123, ACX and IMDb, so keep every version consistent.
The bones are the same: name and union status at the top, credits in columns, then training and skills. Kym's acting resume format sets out that structure. What changes for voice:
Your name, large. Under it, your union status, stated honestly (SAG-AFTRA, SAG-AFTRA eligible or non-union). Then your voice agent's logo and details if you have one. In her step-by-step resume tutorial, Kym recommends adding your own contact details if your agency is small, so a job never slips through. Finish the header with your demo links.
Group them under headings for the work you actually do. David lists many categories of voice work, from commercials, audiobooks and phone systems to animation, video games, explainer videos, documentary narration, promos and trailers, and industrial and training films. Only use the headings you have credits for.
Use three columns, as on an acting resume: the project or client, your role (the character name for animation and games, or "narrator" or "announcer"), and the studio, director or publisher. Kym's rule is quality over quantity: show your strongest credits, not every one. And on honesty, she says to amplify what you've done, never fabricate it.
Yes, in one or two lines. Clients want to know you can deliver clean audio fast. List your microphone and how it connects, your recording software, your space (a treated booth or wardrobe), and whether you can join a live remote session. David names Source-Connect and ipDTL as the internet tools studios use to connect, and says you don't need them until a client asks. If you can deliver files to a specific spec, say so.
List only what you can do on the spot. Kym warns that a casting director may ask for any accent on your resume, right there in the room. Accent expert Amy Walker lists her accents because she can drop into any of them without preparation. For languages, David says native speakers usually win foreign-language voice jobs, so be clear about fluent versus conversational. Character voices, singing and impressions belong here too, if they're genuinely strong. More in special skills on an acting resume.
Lead with what you have. Training goes higher up the page. On-camera or theatre credits can sit in a short "Other performance" section, because voice work is acting. And David's answer to having no work is to create your own content, which gives you real projects to list.
Actor Kevin E. West's advice for a thin resume is not to apologise for where you are: everyone starts with nothing on the page. See an acting resume with no experience.
Swap every placeholder in capitals for your own true details, and delete any section you don't need.
| Your Name UNION STATUS · Voice agent: AGENCY NAME, PHONE, EMAIL · Demos: YOUR WEBSITE | ||
|---|---|---|
| Commercial | ||
| BRAND OR CLIENT | Announcer | STUDIO OR AD AGENCY |
| Animation and video games | ||
| PROJECT TITLE | CHARACTER NAME | STUDIO / DIRECTOR |
| Audiobooks and narration | ||
| BOOK OR PROGRAMME TITLE | Narrator | PUBLISHER / PRODUCER |
| Training | ||
| SCHOOL OR STUDIO | CLASS TYPE | TEACHER |
| Home studio | ||
| MICROPHONE AND INTERFACE · SOFTWARE · BOOTH OR TREATED SPACE · REMOTE SESSION TOOLS | ||
| Skills | ||
| LANGUAGES (FLUENT) · ACCENTS YOU CAN DO ON THE SPOT · CHARACTER VOICES · SINGING | ||
Mostly online. David's advice for a voice website is a single page with everything above the fold: contact and representation details, playable demos, your experience and a short line about what you do. Keep a PDF version for emails to agents, and mirror the same credits on your casting profiles. Pair it with a strong demo: see how to make a voice over demo and how to get a voice over agent.
Your name, union status, agent or contact details, demo links, voice credits grouped by category, training, home studio details and skills such as languages and accents.
No. Voice buyers want to hear you, so put your demo links near the top instead.
Put training first, add any on-camera or theatre work in a short section, list genuine skills, and create your own voice projects to build real credits. Never invent credits.
Only accents you can perform well on the spot, with no preparation, because you may be asked to.
One page. Show your strongest credits and let your demos do the rest.
Want the full picture on resumes? Our free resume guide pairs well with the voice layout on this page.
Kym's free class: the ten steps, in order, from first class to first booking. Free, just pop in your email.
Get the free classKym's free class for actors who've been at it a while and want things moving again. Free, just pop in your email.
Get the free classWant the whole library? Start your 7-day free trial and watch every answer on this page.