Runaway Hearts Film

Runaway Hearts

A young woman fleeing to save her life. An untrusting loner weighed down by guilt. Two very different souls who find love in the booming American West . . . Shortly after her beloved father's death, Emma Bradford becomes a runaway heiress when she overhears her beau and stepmother plotting to steal her fortune-and take her life. She jumps on a train headed to the American West and is instantly attracted to a handsome stranger on board. Pinkerton detective Rye Callahan is assigned to protect an opera diva as she travels from New York to Colorado and remains undercover as a bodyguard during her engagement at Denver's newest opera house. Along the way, he encounters a beautiful woman who looks and sings like an angel, but Rye is married to his job and determined not to become involved with the woman romantically. But Rye and Emma wind up living in the same house in Denver, and their relationship heats up fast. When the diva disappears without a trace, Emma takes her place on stage-only to wind up missing soon after. Rye races against the clock to find both women in time. And if he does, will he be able to open his heart and learn to love? Runaway Hearts is a standalone western historical romance from Alexa Aston's Lawmen of the West series, which features heroes of the American west in various law enforcement positions and the strong heroines who bring love into their lives.

Emotional Structure, Creating the Story Beneath the Plot

The leap from concept to final draft is great, and the task is filled with hard work and horrors. It is here that most writers struggle to get the plot right at the expense of the story's real power. The result is a script that is logical in every way, yet unmoving. Emotional Structure, by Emmy- and Peabody-Award winning producer, writer, and teacher, Peter Dunne, is for these times, when the plot fits nicely into place like pieces in a puzzle, yet an elemental, terribly important something remains missing. The missing piece won't be found by adding action, you can't stir the soul with a car chase. And the problem won't be helped by a change of location, the only location that matters is deep in your protagonist. The solution is to pay constant attention to the inseparable nature of plot development and emotional development. When you create any scene, whether it's a police pursuit on the interstate or a heart-to-heart in the kitchen, the emotional reasoning behind the scene has to be evident. When you develop the emotional current that sustains the action, you create a scene with heart and soul, and you-and your viewers-are going to feel the passion.

The Bioscope