If you can’t name the verb, you don’t know what you’re doing.

A script tells you what is said, never what is being done. Actioning, the rehearsal technique popularised by Max Stafford-Clark and codified in Actions: The Actors’ Thesaurus, closes that gap by forcing a choice on every speech: what is my character doing to the other person, right now? The discipline of the transitive verb is the point. "To be angry" is a feeling you can fake; "to corner" is an action you can play.

Once a scene is actioned, you have what directors call a score: a beat-by-beat map of intention you can execute rather than a mood you have to summon. It makes performances repeatable, on the third take, at the second callback, in week six of a run, because you’re not chasing a feeling, you’re doing a thing.

In Off-Book your verbs are a shadow layer over the script, keyed to each speech, never edited into the text. The screenplay renders exactly as printed, Courier and character cues and scene headings included, and your actions hang in the margin beside each speech, like pencil notes in a rehearsal script. Stuck on a beat? Browse actions lays out hundreds of playable verbs under the intention they serve (to soothe, to provoke, to plead and seventeen more), searchable by the verb or the feeling, and you choose. Off-Book never chooses for you.