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'''Script coverage''' is a [[filmmaking]] term for the analysis and grading of [[screenplay]]s, often within the "script development" department of a [[production company]].<ref>Hauge, M. (2011). Writing Screenplays That Sell, New Twentieth Anniversary Edition: The Complete Guide to Turning Story Concepts into Movie and Television Deals. Harper Collins.</ref> While coverage may remain entirely oral, it usually takes the form of a written report, guided by a [[Rubric (academic)|rubric]] that varies from company to company.<ref>Field, S. (2005). Screenplay: The Foundations of Screenwriting. Delta.</ref> Criteria include, but are not limited to:
* Identification: Title, Author, Type of Material, Locale, [[Genre]]
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* Synopsis: Summary of plot: 1–3 pages depending on script quality
* Budget: The script reader's estimated budget
* Analysis<ref>Trottier, D. (2019). The Screenwriter's Bible, 7th Edition, A Complete Guide to Writing, Formatting, and Selling Your Script. Silman-James Press.</ref>
==Script timeline==
Script coverage is the summary and analysis of a script's plot and writing quality, used by production companies to track film and TV screenplays. Coverage consists of a number of elements. The first is a 1-to-2-page synopsis of the script's story highlighting the main characters and events of the tale. The second is a subjective review of the piece (typical length of which could range anywhere from 1 sentence, in short-form contest coverage, to 2 or 3 pages) which assesses the effectiveness of the screenplay's various components—including its concept, story structure, story development, characters, dialogue, and writing style—and points out its strong points and problem areas.<ref>Lerch, J. (1999). 500 Ways to Beat the Hollywood Script Reader: Writing the Screenplay the Reader Will Recommend. Fireside.</ref>
* '''Pass''': The reader feels the script fails to make the grade in most areas and that the production entity should not proceed with it.
* '''Consider''': The reader feels the script has a considerable number of strong points and is good enough to proceed with, while acknowledging that it has a number of significant problems that need to be successfully solved before the piece can be considered suitable for production.
* '''Recommend''': The reader feels the script is extremely strong in all respects and that the production entity should proceed with it without reservation.<ref>The Black List. (n.d.). About. https://blcklst.com/about/</ref>
When completed, the synopsis, review, and evaluation are assembled and fronted with a cover page that lists the script's vital information (author's name, story genre, time and locations in which it takes place, length of the script, etc.) and contains a brief summary of the story and the review. The cover page usually includes a checklist in which the script's various aspects are rated on a scale ranging from poor to excellent. Finally, the cover page highlights the analyst's ultimate recommendation.<ref>Hicks, N. (2011). Screenwriting 101: How to Get Your Movie Idea Onto the Silver Screen. BT Elite Publishers LLC.</ref>
Although script coverage is a tool used primarily by motion picture production entities, it is sometimes used by screenwriting competitions as a way of separating "wheat from chaff."<ref>Blue Stocking Press. (n.d.). Screenplay Competitions. https://www.bluestockingpress.com/screenplay-competitions.htm</ref> The coverage done for script competitions is usually simpler than that done for production companies — substituting a logline (a brief 1 or 2 line summary of the story) for the synopsis and simplifying the assessment — often employing only the checklist rating of the script's various aspects.▼
In addition to production entities and screenwriting competitions, a number of independent services employ a roster of veteran script analysts to provide professional-level coverage for screenwriters who wish to see how their scripts will be received by the industry. This gives the writers a chance to identify and resolve problems before submitting them to production entities.<ref>Kirkland, C. (2011). I Liked It, Didn't Love It: Screenplay Development from the Inside Out. Lone Eagle.</ref>▼
▲Although script coverage is a tool used primarily by motion picture production entities, it is sometimes used by screenwriting competitions as a way of separating "wheat from chaff." The coverage done for script competitions is usually simpler than that done for production companies — substituting a logline (a brief 1 or 2 line summary of the story) for the synopsis and simplifying the assessment — often employing only the checklist rating of the script's various aspects.
In recent years, advancements in artificial intelligence have given rise to AI-powered script coverage services such as Prescene.<ref>Prescene. (n.d.). AI Script Coverage. https://www.prescene.ai/</ref> These services use natural language processing and machine learning algorithms to analyze screenplays and provide detailed feedback on various aspects such as character development, pacing, dialogue, and marketability. While AI script coverage is still a relatively new field, it has the potential to revolutionize the screenplay development process by providing quick, objective, and cost-effective feedback to screenwriters.
▲In addition to production entities and screenwriting competitions, a number of independent services employ a roster of veteran script analysts to provide professional-level coverage for screenwriters who wish to see how their scripts will be received by the industry. This gives the writers a chance to identify and resolve problems before submitting them to production entities.
==Issues in coverage==
▲=== Economy of the script ===
By the very nature of summarizing a complicated plot, the coverage will not include every plot twist and subplot. Some characters will be omitted, or only briefly introduced for the sake of brevity. In order to decide on what will stay and what will go, the character and actions must support the main plot, and ultimately the premise of the story. Scripts that are not economical and include peripheral characters, scenes, and storylines that do not support character or plot development do not affect their motivation, and therefore can be omitted from the coverage. In this manner, well-written scripts may have longer synopses than poorly written scripts with a lot of extraneous action.
==References==
{{Reflist}}
[[Category:Filmmaking]]
[[Category:Screenwriting]]
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