When a reader says a script feels low stakes, they rarely mean nothing bad could ever happen. They mean they stopped caring whether it does. That gap between plot mechanics and audience feeling is almost always traceable to one of three specific stakes categories being underwritten, while the other two are fine. Fixing the wrong one wastes a draft.
The three kinds of stakes, and why writers usually fix the wrong one
Stakes notes tend to arrive as a single vague sentence: raise the stakes. That instruction is nearly useless because it does not say which stakes. There are three distinct kinds, and a script can be strong in two and weak in one while still reading as flat overall.
- Personal stakes: what does this specific character lose, internally or relationally, if they fail.
- Plot stakes: what changes in the world, the external situation, if the goal is not achieved.
- Time stakes: why does it have to happen now, and what gets worse the longer it does not.
A heist script can have massive plot stakes, the money, the exposure, the danger, and still feel flat if the personal stakes are thin, meaning we do not know or care what the lead character personally loses. Conversely, a small character drama can have enormous personal stakes and still feel slack if there is no time pressure forcing the confrontation to happen in this scene rather than some other day.
Diagnostic: personal stakes
Ask this of your protagonist in the scene that feels weak: what do they lose if this goes wrong, that is theirs specifically, not generic. Not their life in the abstract, but their marriage, their standing with their kid, their last chance to prove something to a parent who is already dead. If you cannot answer this in one sentence tied to backstory already established on the page, the personal stakes are not built, they are assumed.
Common failure mode
The character wants an external goal, money, the case, the promotion, but the script never shows what that goal is standing in for emotionally. Audiences do not attach to objects, they attach to what the object represents to a specific person.
Diagnostic: plot stakes
Ask what specifically changes in the world if the protagonist fails, not in vague terms like bad things happen, but in terms of a concrete, visualizable outcome. If your answer is something like everyone will be sad or the villain wins, that is not concrete enough to sustain tension across ninety pages.
Common failure mode
The threat is stated once early and then never escalated or made visible again. Plot stakes decay if they are not periodically re-shown in the world of the script, a headline, a countdown, a physical sign of deterioration. Stated stakes that are never revisited read as forgotten by the writer, which the audience feels even if they cannot name why.
Diagnostic: time stakes
Ask why this confrontation has to happen today, in this scene, rather than being postponed. If a character could reasonably say let us deal with this tomorrow and nothing in the script prevents that, you have a time stakes problem, and it usually shows up as scenes that feel like they could be cut or reordered without consequence.
Common failure mode
Writers add an external deadline, a wedding, a court date, a deal closing, but never let that deadline pressure the actual scene work. The clock exists in the plot description but not in the dialogue or blocking of the scene itself.
A side by side diagnostic
| Stakes type | The test question | Common failure | Fast fix |
|---|---|---|---|
| Personal | What does this character specifically lose, tied to their backstory | Goal is generic, not personal | Attach the external goal to a named relationship or wound already on the page |
| Plot | What concretely changes in the world if they fail | Threat stated once, never escalated | Re-show the consequence visually at least once per act |
| Time | Why does it have to happen now, in this scene | Deadline exists in premise but not in scene pressure | Put a literal clock, interruption, or expiring window inside the scene, not just the outline |
Scene level fixes that actually move the needle
Vague notes like raise the stakes do not translate into rewrites. Concrete scene level moves do. A few that consistently work across genres:
- Give the character something to lose that is already established, so the threat lands on existing emotional information rather than requiring new exposition.
- Interrupt the scene before the goal is achieved, forcing the character to choose between the goal and something else they want, which makes the cost visible in the moment rather than described later.
- Attach a literal countdown or expiring resource inside the scene itself, not just in the logline, so urgency is felt in real time rather than summarized.
- Show the cost of a prior failure onscreen before asking the audience to fear a future one. Audiences calibrate stakes based on evidence, not promises.
Where outside eyes help, and where they do not
Stakes problems are notoriously hard to self diagnose because the writer already knows what is at stake, it lives in their head as backstory and intention, even when it never made it onto the page. This is one area where a second reader, human or AI, earns its keep, because they can only respond to what is actually written, which exposes the gap.
Coverage services like WeScreenplay or Coverfly will flag stakes as an issue in a report, but usually as a summary note rather than a scene by scene diagnostic, and turnaround is measured in days, not minutes. Movie Mentors approaches it differently: you can drop a specific scene into a chat with personas built from filmmakers known for tension and structure, and ask them to argue about whether the personal, plot, or time stakes are the weak link, which forces the kind of specific diagnostic this page walks through rather than a generic note. It is genuinely useful for this because disagreement between mentors tends to surface which stakes category is actually missing, rather than converging on one averaged answer.
None of this replaces reading the scene aloud or watching it performed, which is where timing based stakes problems, the ones about pacing and pressure rather than plot logic, tend to surface most clearly. Text based feedback, from any source, catches structural gaps better than it catches rhythm problems.
The actual test
Stakes are not a quantity you add, they are a specificity you build. A script with modest plot stakes and sharply specific personal stakes will almost always outperform a script with apocalyptic plot stakes and a generic protagonist. Before rewriting for bigger, rewrite for more particular, and see how much of the flatness disappears on its own.
Originally published at https://www.moviementors.ai/answers/script-missing-stakes.html.
Written by the team behind Movie Mentors.
