The Self-Tape Reader Brief: 60 Seconds of Direction That Makes Your Tape Cleaner (and Calmer)

Self-taping gets weirdly stressful because it’s two jobs at once: actor and mini-production. And when you add a reader (even a great one), there’s a very normal moment where you’re like… “How do I direct this person without being awkward?”

Here’s the thing: you don’t need a TED Talk. You need a *brief.* A tiny, clear set of instructions that protects your performance and keeps the session efficient.

I’ve done tapes where I didn’t say anything up front, and then I spent 40 minutes fixing problems that were 100% preventable. So below is the exact 60-second brief I wish I’d used earlier — plus what to do when something still goes off the rails.

Why a “Reader Brief” changes everything In a perfect world, every reader instinctively nails pace, volume, and tone while leaving you all the space you need.

In the real world, readers are humans. They can’t read your mind, and they *shouldn’t* have to.

A quick brief helps you: - Stop sacrificing takes to mismatched pacing (you’re sprinting, they’re strolling) - Avoid the “reader’s voice is louder than the actor” problem - Keep eyelines consistent (so your tape looks grounded) - Get the *same* version of the other character across takes (so you can adjust *you*)

The goal isn’t to control your reader. The goal is to make your tape repeatable.

The 60-second Reader Brief (copy/paste this) Before you roll, take one minute and hit these points. You can literally read this off your phone.

1) “Here’s the shape of the scene.” (10 seconds) Give the reader the simplest possible map.

Example: - “This is a confrontation that turns into a plea.” - “This is playful flirting that gets serious on the button.” - “This is polite, then the truth slips out.”

Keep it broad. You’re not directing their performance — you’re sharing the lane you’re in.

2) “Here’s your energy level.” (10 seconds) Actors often want the reader to be *present* but not *performing at them.* Say it plainly.

Try: - “Natural, grounded, no extra attitude unless it’s in the line.” - “Be warm but not big — like we’ve known each other a while.” - “A little impatient, but not yelling.”

This is especially helpful for comedy, where a reader can accidentally punch lines you need to land.

3) “Here’s the pace.” (10 seconds) Pacing is where takes go to die.

Pick one: - “Let’s keep it quick — overlapping is okay if it happens naturally.” - “Give me a beat after your lines so I can think.” - “Don’t rush the important questions; let them hang.”

You’ll feel immediately whether the scene needs space or snap. Tell your reader which.

4) “Volume and mic reality.” (10 seconds) This is the least artistic part and the most important.

Say: - “I’m a little quieter on camera, so if you can read slightly under me, that helps.” - “If I step forward, I might get softer — stay consistent so we don’t spike audio.”

If you’ve ever watched playback and thought, “Why do I sound like a whisper next to a tornado?” — this fixes it.

5) “Eyeline and position.” (10 seconds) This keeps your tape from looking like you’re talking to the lens (or worse, to the floor).

Try: - “I’m looking just off-camera right. Can you sit on that side?” - “Stay in the same spot between takes so my eye line stays consistent.”

If your reader is remote, you can still set this: - “I’ll keep my eye line just to the right of the camera, like you’re there.”

6) “What I need from you if I drop a line.” (10 seconds) This is a confidence saver. Agree on it before you start.

Options: - “If I go up, give me the line and we’ll keep going.” - “If I go up, just pause and I’ll call ‘line.’”

When everyone knows the plan, there’s less apologizing and less panic.

The one sentence that makes it feel easy (not bossy) If giving direction makes you feel like you’re being ‘difficult,’ try this line:

“I’m going to give you a quick brief so we can get this in just a couple takes.”

It frames your direction as teamwork and efficiency — which is exactly what it is.

Troubleshooting: common reader issues (and how to fix them fast) Even with a good brief, you might hit one of these.

If the reader’s pace is throwing you off Don’t push through five takes hoping it magically aligns.

Reset with: - “Can we do one where we keep it a little tighter?” - “Can you give me a half-beat more after that question? It helps me land the thought.”

Specific moment. Specific adjustment. One take. Reassess.

If the reader is emoting so hard you lose the scene This happens with enthusiastic friends, or sometimes with actors who are excellent (and playing).

Fix it without insulting them: - “This is great — can you take it down like 20% so the focus stays on my turn?” - “Can you keep your energy steady across takes so I can track my changes?”

You’re not asking them to be boring. You’re asking them to be consistent.

If the reader keeps stepping on your lines Overlapping can be great — *when it’s intentional.*

Try: - “Let’s avoid overlap on this one so casting can hear the text clearly.” - “Hold until I finish the last word, then jump in.”

It’s not less “real.” It’s more watchable.

If the reader is giving you line reads (even accidentally) Sometimes they’re trying to help. Sometimes they can’t help themselves.

Redirect to objectives: - “Totally — what I’m playing is that I’m hiding it. So if you stay neutral, it helps my choice.”

You’re guiding the scene, not debating acting theory.

A mini checklist before you hit record Do this once and you’ll save yourself 20 minutes later.

• Reader knows the emotional lane (one sentence)
• Reader knows pace (space vs snap)
• Reader volume is slightly under you
• Eyeline is set and repeatable
• You’ve agreed on what happens if you go up

That’s it. That’s the whole professional workflow.

The bigger point (that’s easy to forget) Your reader is not an obstacle. They’re your partner in making the tape playable.

When you give a clear brief, you stop treating every take like a gamble. You get to do what you actually came here to do: listen, respond, and tell the story.

And if you want the easiest version of this? Work with a reader who’s used to self-tapes — someone who understands that their job is to support the booking, not win the scene.

If you’re using Self Tape Reader, consider saving your brief as a template. Same structure every time, new scene every time. Less chaos, more acting.