A note like “Be more nervous” is an emotional result rather than an action. It describes what the director would like to see (i.e., the emotional result: more nervoussness), but it doesn’t clearly explain to the actor what she should actually do physically or vocally (i.e. actions that will create the nervousness).
To give a more useful note, find a verb that your character can actively do to their scene partner. This might seem like a small shift, but in reality it opens the door to allow the actor to explore her behavior in a more nuanced and emotionally truthful way. The verb gives them a specific job to do, a playable action, that they can explore freely while remaining focused on her scene partner.
In each beat, think about what your character is trying to do to her scene partner. Try writing a verb in your script margin each time the character’s objective changes.
If you find one of these verbs isn’t working, try another. In fact, I highly encourage you to try another. Once you find one that makes the beat clearer, keep it or refine it. Then try another. You’ll be amazed at the different behavior and energy you get out of the same lines when the actor is asked to seduce in one take and then provoke in the next.
The verbs don’t need to be flashy. Sometimes you’ll want a stronger verb, such as provoke or threaten, other times it will work to have a more passive verb, such as hide what you know or deflect. But a verb that isn’t inherently charged can just as easily create a sense of tension and drama if it is the most truthful thing the character could do based on her objective.
The key difference between these action-based notes and result-based notes is in their clarity. A director might give a vague note like “Make this sadder,” which might lead the actor to explore a couple different interpretations of what the director actually wants. After watching the actor try a new approach, the director isn’t sure if the note worked or if the actor interpreted the note differently than what they had in mind. An actionable note can be given, like “Ask your scene partner out,” then after the actor explores the approach the director will be able to determine if the note was effective because they both were on the same page about what action the director was asking for.
As a beginning director, you might instinctively create notes in this format. “Give me more energy,” you’ll say after the actor’s performance has gone flat. “You need to be angrier.” These are all very emotionally result-based notes: You’re asking them to “feel more afraid,” for instance, or to show you a new emotion. But as soon as you give an actor a clear note about what to do, they will find the emotional and physical results within themselves.
