Student Blog: Five Script Coverage Tips

If you are searching for positions in theatrical development, you have likely come across the buzzword "script coverage." This time-consuming, detail-oriented task can be daunting for interns who have never analyzed a script for a company. Although many colleges offer courses in reading plays, play writing, and dramaturgy, most professors do not assign script coverage tasks. Instead, students are asked to analyze a script then write an essay or present on the script's plot, characterization, or relevance rather than commerciality. Professors should start giving their students script coverage assignments to prepare them for real tasks they will encounter if they pursue a career in the industry. Thanks to my most recent internship, I have extensive experience in performing script coverage for plays, films, and TV pilots, so I came up with 5 tips for script coverage newcomers.

1. The synopsis should not be the entire script rewritten.

The biggest challenge I faced when I started conducting script coverage was writing the synopsis. I felt like every action that occurred in the script had to be in the synopsis, but only the key ideas from each scene and pivotal moments in the script should be included. The person reading the script coverage should be able to grasp the plot structure from a succinct synopsis. Thus, as long as the introduction, rise, climax, falling action, and denouement is evident, then the synopsis is sufficient. I also recommend organizing the synopsis by acts if the script is for the stage, and by scenes if the script is divided in this manner. If you are compelled to write something in the synopsis, ask yourself if it is important for moving the plot forward.

2. Consider the feasibility and commerciality of a script.
The plot of a script may be in perfect shape and intrigue you, but it must be producible and attract diverse audiences. There is no purpose in recommending that a company produces a script if it calls for impossible technical elements or would not appeal to enough people to make a profit. When leaving comments on the script, make sure to note anything that seems unfeasible and suggest alternative options if possible. Additionally, consider the perspectives of multiple different audiences to determine whether it would sell tickets. Most companies that have interns write script coverage are looking to make a profit while making good theater, so commerciality must be taken into account.

3. Consider the writer's skills in isolation from the plot.
Many scripts I have read had terrible plots, but the writer crafts realistic dialogue or has an excellent grasp on humor and playing with words. Some companies are not necessarily looking for the next best play, television show, or film, but instead they may be looking for a writer to attach to a developing project. Always consider how the writer could be an asset for a different project if you enjoy their writing. For example, perhaps the author wrote a drama, but their humor would be excellent for a comedy.

4. Consider the medium of storytelling.

Sometimes you will read a play that would work better on the screen, or a film that would work better on stage. Take note of this in your critique! Some scripts start off in one medium of storytelling then get transferred to another. After all, we adapt books into films, television shows, plays, and musicals all the time, so it is not crazy to recommend changing the medium of storytelling. For instance, I read a screenplay that spanned 5 years of someone's life and would be an excellent TV show so viewers could get more invested in the character's journey. So much happened in the 120 page script that it was evident the story needed to be told at a much slower pace.

5. Be honest.

Most scripts you read will not be incredible. In fact, many will be terrible, inconsistent, or too niche for a range of audiences. Do not be afraid to pass on a script rather than recommend it. If a script is bad, let it be known! As the person writing script coverage, your job is to determine whether the script merits further attention from the company. Keeping that in mind, this does not give you the excuse to tear down the script. Do not mention every grammatical error or irrelevant line in the script. There is always a highlight to mention even if the plot is horrendous. Be completely honest with yourself and the company about whether a script deserves to become a developing project. The most important question you should ask yourself when critiquing a script is why the story should or should not be told.

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