In his book “Writing Movies” (2007), Steven E. Meyer writes that the key to good writing is the “precise understanding of the medium,” which means that a good writer should understand the nature of his subject matter.
Meyer calls this knowledge “the craft,” and he lays out the three main ways in which writers can do this: read the script, write it, and analyze it.
The first is the most obvious, and it’s the most important.
This is where you need to take time to understand what you’re writing.
Meyer recommends looking at what’s going on in the scene, and how it affects the main character.
He writes, “The plot is the point of view; the characters are the perspective of the viewer.”
The third is the simplest, but it can also be the most critical.
Meyer says it’s not enough to know the basic structure of the script; you have to know what the reader wants to see, and what the characters do want to see.
So, if the reader has a question about the character’s motivations, what kind of character do they want to be, what kinds of situations do they need to be in, what’s the central character’s goal, and where is the story going?
All of this is going to be important, and Meyer writes, the best script can do that.
So Meyer breaks down the process for this in “The Craft of the Writer,” a series of articles he wrote for Slate that have been collected into this book.
He calls it “the Craft of Writing,” and it explains the three ways writers can take their work, and write it with an eye toward the audience.
Read on to learn more about Meyer’s tips, and to see some of the best scripts he’s ever seen.
Read the scene and analyze the character.
Meyer advises the reader to read the scene first.
That is, he says, “read it with the goal of discovering the structure of that scene.
Read it, then analyze it, so you can see what’s happening.
In the end, you’re going to understand the character.”
So read the character and then analyze the scene.
Meyer is not kidding.
Meyer also says that if you don’t understand the structure, you don, so analyze it thoroughly.
And Meyer writes about the importance of understanding the character as he puts it in his book.
“It’s not about how they move, but how they act.
They’re not in a rigid order; they’re not a monolithic thing,” he writes.
“You need to understand them in order to understand yourself.
So you need an understanding of your character, not an understanding.”
Meyer also writes about how to analyze a scene so that it feels real.
He says, the simplest way to analyze the characters is to analyze their motivations.
“The more you understand them, the more you can understand them as a person,” he says.
“So you need a little bit of a break.
You need to pause and take a break.”
Meyer says the next step is to try and make sense of what’s occurring in the situation.
So the first step is “to understand the scene.”
The second step is, “what is the character doing?”
The third step is understanding the structure.
Meyer talks about how he thinks this happens, and why it’s important to know exactly what’s coming up.
“A movie is like a dream,” he explains.
“If you don.t understand that, then you’re not going to want to go into the movie expecting it to be a dream.
You’ll be a little disappointed.
But if you understand what’s actually happening, and understand what it’s about, then it’ll all make sense.”
Meyer writes in his “The Art of the Story” (2008) that the best way to understand a movie is to “read what the character is thinking,” and “see if that makes sense.”
This is a crucial step, and I think Meyer is correct in that it’s critical to understand why the characters in a movie are doing what they’re doing.
Meyer wrote about this in a different piece he wrote in his first book, “Writing for Cinema,” in which he said that if your script is “too vague or ambiguous,” you’re likely to have trouble understanding what’s really happening in the movie.
Meyer goes on to write, “When I wrote ‘I Am a Fugitive’ in college, I never had any problems understanding the characters.
But as I wrote more and more, I had more and better problems understanding them, too.”
This may seem like a small thing, but Meyer explains that this is how a writer’s “focus is distorted.”
“I have a tendency to focus on the character,” he wrote.
“I am a Fugue, I am a villain, I’m a hero, I have an evil purpose in life.
This has distorted my focus