Your number one focus is to create a situation in which two characters each have an urgent, immediate need and those needs are in direct opposition to one another. The distance you deviate from this will measure the level of deterioration of your scenes’ health.
Hal Ackerman’s HOW TO MAKE YOUR SCENES DANCE THE “WADOOGEE”
There are times when writing is an uphill march (barefoot, with snow and wolves). There are times when we have to write something, fail, come back, do it again, fail, come back, do it again, until we’ve got it right.
Now is not that time.
We have only got one month to write a script. We need to write downhill. We need to steer around obstacles, not through them.
Engaging characters are at the heart of all good drama, no matter how mainstream or unusual your idea may be. Your characters should be believable, even if they are in an incredible situation. We should be able to empathise or engage with the main characters, even if we don’t necessarily like them. It’s hard to care about a character that plays a passive role in their own story, so make your central characters as active as possible – There should be all kinds of conflicts and difficulties for your characters to deal with – scripts are rarely interesting if the writer is too easy on or too nice to the characters.