David Patrick Raines: Actor, director and screenwriter in Rancho Santa Fe, California.

A good exercise for creating emotional stakes in every scene of your screenplay is to make sure there is a clear emotional drive. The best way to create conflict in a screenplay is to give your characters goals and obstacles. This is no less important for each scene than it is for the screenplay as a whole. To that end, to ensure the emotional stakes are clear, give each character an emotional goal and an emotional obstacle.

Let's simplify that a bit.

The emotional goal of any character in a scene is LOVE. Love of someone else, love for someone else, or love of self (bear in mind that narcissism, arrogance, selfishness, etc. are not elements of self love. think of self love more in terms of self care). Think about how that love goal will manifest: selflessness, generosity, caregiving, listening, encouraging, comforting, protecting.

Love goals are always positive, never negative. If they are negative they are not love goals. They are fear obstacles.

The emotional obstacle of any character in a scene is FEAR. Fear of failure, loss, humiliation, abandonment, etc. Notice these are variations on the fear of death. Think about how that fear obstacle will manifest: anger, rage, sabotage (including self-sabotage), violence, selfishness, discouragement, manipulation.

Every scene should have emotional goals and obstacles for your characters. They will be of varying degrees of intensity but they will always be there. Ask what your character wants that is driven by love. Ask what is hindering that goal that is driven by fear. This will give all of your scenes heightened and deeper emotional stakes.

Think about Martin Riggs in Lethal Weapon (1987). He's alone in his trailer, despondent and suicidal over the death of his wife. He has his service pistol out and loads a hollow point bullet. He puts the gun to his forehead and then to his mouth. His eyes fill will intensity and tears. His thumb brushes trigger...

Martin is in deep emotional pain. He misses his wife terribly. His love goal is to be with her. His fear obstacle is that he can never have her back. What makes this situation interesting is that his fear obstacle has already come to fruition. She is dead and he can't have her back. Since Riggs can't emotionally reconcile the inherent rift between his love goal (to be with her) and his fear obstacle (he can't have her back), he flirts very dangerously with the idea of suicide.

Keep in mind that your character could have the same love goal and fear obstacle in multiple scenes, but they shouldn’t have them in every scene. If they do, a different love goal and fear obstacle should take precedence in that scene.

It can never be said enough that goals and obstacles are the bedrock of character action and motivation. By deepening the emotional motivations of your characters, your audience will connect and empathize with them more.

For more information on how to write a screenplay, please join my one-day class this Tuesday, March 22 from 2:00-5:00 on Zoom. Click here to join! http://www.sandiegowriters.org/2022-03-22-online-introduction-to-screenw...

I am just starting the process of trying to sell my screenplay (fifth one written, first one trying to sell). One week into it and my head is ready to explode. The amount of advice is overwhelming (and often times contradictory). Some say it's all in the query letter, others swear by the log line, still others with the synopsis. Some say to query production companies, others say managers, still others say agents. My story has a twist - should I tell it in the synopsis or log line, or should I just tease it? Will anyone request the script if I don't give away the twist up front? Some say query letter should have just log line and brief one paragraph synopsis - others say 1-2 page synopsis.

I know this is meant to be hard, otherwise everyone would do it (or try to). But there are times like this that I want to curl up in a fetal position, grab a Mai tai, and just spend the day listening to my "Space Music" playlist. I thought writing was hard enough - but the selling is really killing me. Anyone else ever feel the same?

Hi, all. Given the importance of meeting, working, and hopefully making friends with folks in the industry, it may or may not surprise people (those who know me) that I am more or less inept at doing so.

In any event, I hope everyone is having a wonderful weekend and that you are all staying safe and healthy.

Opening pages of the screenplay. A YOUNG BOY is introduced. Is it possible to introduce V.O. without revealing the character's name? The V.O. is the boy character thirty years older, revealed several pages later. Thanks!

Good advice here. I always fight the "I'm just not that interesting" demon constantly gnawing at the back of my mind. What you have here is a nice, relaxed way to meet people.

Now I just need to figure out how to do that online while waiting out the pandemic.

It's all about connections. Not just this business but in any business. Sadly, I must confess it is probably the thing I am worst at (that and marketing).

I'm always up for tips. Especially during pandemic when in-person meetings are less than desirable.

Hi, all. I hope you're having a wonderful pre-Thanksgiving weekend. What's everyone been up to? What challenges are you facing or have overcome?

Hi David! :) How are you? Thanks for accepting...heaps appreciated :))...Awesome meeting you here!

So this is my company: Filmatick is pleased to host a virtual lunch & learn on January 6, 2021, from 12 pm-1 pm (EST). Emmy Award-winning director, Mike Gasaway, will be presenting on the importance of previsualization in a post-covid world. We will treat you and a guest to an Uber Eats lunch that you can enjoy during the event. Register today! https://bit.ly/3m0BOLM

Have you ever watched a movie, been fascinated by the intricacies of its plot, been swept away by its scope, engrossed by the drama, excited by the dialogue, and thought to yourself, “I could have written that”? Well, I believe you can.

screenwriting.rainestorm.com

My 4-week class is designed for anyone who has ever had an idea for a screenplay and wondered what makes a great script into a successful film.

Do you know what separates a spec script from a production script or a shooting script? How a screenplay differs from other forms of writing? When to follow the “rules” of a screenplay, when to break them, and why?

• OCTOBER 4 – 25 INTRODUCTION TO SCREENWRITING

• WEEKLY SUNDAY READ AND CRITIQUE WORKSHOP

screenwriting.rainestorm.com

Join me as we wade through the ins-and-outs of screenwriting, the elements that comprise a successful screenplay, and how to identify these elements in successful scripts and movies.

$120 Members

$144 Nonmembers

4 Sessions -- October 4, 11, 18, 25

You will learn:

• Why structure is important, not just in film but in any art form

• The basics of the storytelling arc

• The importance of character to a strong narrative

• How to craft interesting dialogue unique to each character

• Multi-character narratives that break the typical mainstream structure

• The importance of formatting

• How to use plot devices to enhance your story

“Better than the introductory class on screenwriting that I took from UCLA. No joke!”

—Christine Y

“After one year of writing I have six great ideas started. All crashed and sit somewhere on my computer somewhere in Act II. I have been enrolled now for two months, and with the help of my colleagues, I am near completion of my first full length screenplay.”

—Greg H

“Learning the craft of screenwriting is no easy feat, but David’s class helps to convert theory into practice.”

—Tessa M

More information (including registration) for this class can be found here: https://screenwriting.rainestorm.com/