Even better is understanding the director's needs. He has to have something he can elicit images and emotion with.

This is great. My writing partner and I have spoken about taking an acting class together. I hope one of the parts addresses how each of the different training methods is specifically useful for writers.

Looking forward to Joshua and Shea's comments. I was 'reading' once for an audition and my mind popped out of the moment, and I said to myself "that actor is so Meisner trained". And sure enough - she was. There's something special about that process.

I studied acting at NZ Drama School/Toi Whakaari (where B-listers Cliff Curtis, Kerry Fox, Marton Csokas studied. Yeah, yeah, so shoot me for name dropping. But I had to otherwise you guys wouldn't have a clue what I'm on about.) That was years ago and I still remember everything I learnt...what's my objective, where's the conflict, what do I really want...right down to 'this line is just too hard to say and I know the actor will hate my guts - so I better change it'.

Would love to know if any of the writers out there have studied under Jeremiah Comey or one of his disciples. That's another fascinating organic process which I love - the strength lying in the emotional connection between the actors rather than the script. I know some writers who don't like this though...