WHAT'S HIS PROBLEM?

When experimenting with different objectives, you may want to consider the objective of the other person in the scene. A playwright has chosen a place in time because of its dramatic weight. And, what makes a scene dramatic is conflict. Therefore, in most cases, your character may want the opposite of what the other character in the scene wants. Sometimes, when it’s difficult to come up with a satisfying, playable objective for your character, it may be easier to look at the other character and ask what does he/she want? Then think about what would be the opposite of that. That may be a way to discover what your objective is.

Also, think about where the scene is in the play. The closer you are to the climax of the play (2/3rds to 3/4ths of the way through) the higher the stakes should be. Try using these lead-ins before your objective/verb: I want; I need; I must have. Or: I want him to; I need him to; I must get him to… With each lead-in the stakes become progressively higher. The 1st three, I like to call selfish objectives. The 2nd three, I like to call partner-focused objectives. Play around with these and get back to me. I’d love to hear how they work for you! ]