What Managers and Agents Look For in Scripts
Working for entertainment managers, I’ve written more script coverage than I ever want to. When you submit your script to a manager or agent, it’s highly doubtful they will actually read the script. They first give it to their intern or assistant. Usually, a college kid who’s earning a college credit doing free work or someone who’s recently graduated.
This intern/reader will PASS, CONSIDER, or RECOMMEND your screenplay. 95% of screenplays submitted are passed (meaning they will NEVER be looked at ever again by anyone) because these scripts are not worth investing money in. The other 5% have potential. A Consider is a Maybe, and a Recommend is a “Yes, let’s make this!”
These are the questions that readers answer when doing script coverage. If your script has any flaws (meaning they don’t answer these questions correctly), it will probably not be seen by the manager/agent. Before submitting a script to anyone important, I ensure my screenplay answers all these questions to get a RECOMMEND.
CHARACTER
Is it clear whom the story is about? Who are we rooting for?
Can you identify in some way with the main character? Are they likable?
Are the characters believable?
Is their behavior consistent with human nature?
Is character revealed through what people do visually rather than what they say? (Film is a visual medium)
Does the main character change, grow, or develop? (they should!)
Is the main character active or passive? (they should be active!)
Are the supporting characters good “foils” for the protagonist?
Are the hero and the antagonist evenly matched? (antagonist should be evenly matched or more powerful)
What’s at stake for the main character? What do they want?
Are major characters introduced too late?
STRUCTURE and STORY
Is the opening exciting?
Does the story “get rolling” quickly enough?
How is the exposition handled?
Is it a good story? Is it compelling?
Is the conflict and what the story is about clear in the first few pages?
Does it flow? Or are the scenes choppy or confusing?
Does the script have a strong narrative drive? Or does it ramble?
Does the story develop or unfold in an interesting way?
Are the scene transitions smooth or visually interesting?
Does the second act sustain your interest?
Does the climax pay off on the promise of the beginning?
Does the structure feel balanced, or is something out of place?
Is the ending satisfying? Or does it leave you with that “so what” feeling?
Does the antagonist get their comeuppance? Does the punishment fit the crime?
Does the writer “follow through” on all their storylines? Do minor characters work out their problems?
CONCEPT
Is there strong conflict? (from beginning to end)
Will the main idea of the film “grab” an audience? Is there a “hook”?
Are there elements on which to build an advertising campaign?
Is the concept unique?
Is it easily explained in a few words? Is it pitchable?
Is there a clear theme? What is this movie about?
Are there other films with similar themes that can be used for comparison?
DIALOGUE
Does it sound the way people really talk?
Is dialogue consistent? Do people stay “in character?”
Do all the characters sound the same? (They shouldn’t)
Is the dialogue appropriate to the period of the film?
If it’s a comedy, is it funny?
Does the dialogue “track well?”
Is the script too “stagey” or too “talky,” relying too much on dialogue and not enough on visuals?
Are the speeches relatively short and easy for an actor to memorize?
BUDGET
Would the production be expensive?
Are there any special sequences that would drive up the budget or that could be trimmed to save money?
Would “star” actors or other talent be requested to make the project work? (Would it work only in the hands of certain directors, for example?)
What other films does this reflect in terms of potential budget?
CASTING
Do casting suggestions come to mind?
Would casting present any special problems or challenges?
Are there too many characters for the size of the story?
THE BOTTOM LINE
If you ran the studio and could only make ten movies a year, would this be one of them?
Would you see this movie or recommend it to a friend?
Who is the intended audience for this film? Is that audience large enough to justify the cost of the picture? (A film must make three or four times its production cost to show a profit.)
Does the script work “on its own terms”? It may be an exploitive horror movie, but is it a GOOD exploitive horror movie? If it’s a comedy, is it funny?
Is the idea timely? Does it relate to something currently in the public awareness? Is the timing right for this movie? Or is it an evergreen film that can make money in every year. (Christmas movies for example, are evergreen films!)
This intern/reader will PASS, CONSIDER, or RECOMMEND your screenplay. 95% of screenplays submitted are passed (meaning they will NEVER be looked at ever again by anyone) because these scripts are not worth investing money in. The other 5% have potential. A Consider is a Maybe, and a Recommend is a “Yes, let’s make this!”
These are the questions that readers answer when doing script coverage. If your script has any flaws (meaning they don’t answer these questions correctly), it will probably not be seen by the manager/agent. Before submitting a script to anyone important, I ensure my screenplay answers all these questions to get a RECOMMEND.
CHARACTER
Is it clear whom the story is about? Who are we rooting for?
Can you identify in some way with the main character? Are they likable?
Are the characters believable?
Is their behavior consistent with human nature?
Is character revealed through what people do visually rather than what they say? (Film is a visual medium)
Does the main character change, grow, or develop? (they should!)
Is the main character active or passive? (they should be active!)
Are the supporting characters good “foils” for the protagonist?
Are the hero and the antagonist evenly matched? (antagonist should be evenly matched or more powerful)
What’s at stake for the main character? What do they want?
Are major characters introduced too late?
STRUCTURE and STORY
Is the opening exciting?
Does the story “get rolling” quickly enough?
How is the exposition handled?
Is it a good story? Is it compelling?
Is the conflict and what the story is about clear in the first few pages?
Does it flow? Or are the scenes choppy or confusing?
Does the script have a strong narrative drive? Or does it ramble?
Does the story develop or unfold in an interesting way?
Are the scene transitions smooth or visually interesting?
Does the second act sustain your interest?
Does the climax pay off on the promise of the beginning?
Does the structure feel balanced, or is something out of place?
Is the ending satisfying? Or does it leave you with that “so what” feeling?
Does the antagonist get their comeuppance? Does the punishment fit the crime?
Does the writer “follow through” on all their storylines? Do minor characters work out their problems?
CONCEPT
Is there strong conflict? (from beginning to end)
Will the main idea of the film “grab” an audience? Is there a “hook”?
Are there elements on which to build an advertising campaign?
Is the concept unique?
Is it easily explained in a few words? Is it pitchable?
Is there a clear theme? What is this movie about?
Are there other films with similar themes that can be used for comparison?
DIALOGUE
Does it sound the way people really talk?
Is dialogue consistent? Do people stay “in character?”
Do all the characters sound the same? (They shouldn’t)
Is the dialogue appropriate to the period of the film?
If it’s a comedy, is it funny?
Does the dialogue “track well?”
Is the script too “stagey” or too “talky,” relying too much on dialogue and not enough on visuals?
Are the speeches relatively short and easy for an actor to memorize?
BUDGET
Would the production be expensive?
Are there any special sequences that would drive up the budget or that could be trimmed to save money?
Would “star” actors or other talent be requested to make the project work? (Would it work only in the hands of certain directors, for example?)
What other films does this reflect in terms of potential budget?
CASTING
Do casting suggestions come to mind?
Would casting present any special problems or challenges?
Are there too many characters for the size of the story?
THE BOTTOM LINE
If you ran the studio and could only make ten movies a year, would this be one of them?
Would you see this movie or recommend it to a friend?
Who is the intended audience for this film? Is that audience large enough to justify the cost of the picture? (A film must make three or four times its production cost to show a profit.)
Does the script work “on its own terms”? It may be an exploitive horror movie, but is it a GOOD exploitive horror movie? If it’s a comedy, is it funny?
Is the idea timely? Does it relate to something currently in the public awareness? Is the timing right for this movie? Or is it an evergreen film that can make money in every year. (Christmas movies for example, are evergreen films!)
By Jordan Imiola and Rachel Sepley
Reposted from the Buffalo State Creative Writing Blog
Wow.
So we've been out of the loop for a while. Mostly just watching movies.
This is what we've seen lately:
She's Out Of My Leage - Ugh. This had potential, but ultimately fell short in the meatiest dramatic moments. Contrived conflict WILL sink a comedy script - and this movie is proof. Up until that 'all is lost' scene, I was pretty much on board, floating happily along, getting what I expected. So lesson: Don't underestimate the importance of getting your DRAMA right in a comedy.
our rating: 2.8/5
Hot Tub Time Machine - Better than League, by a lot. Realy good bits in this movie. And this movie is also an example of a good concept that is executed relatively well. It's not perfect, and there are some definite holes in the plot (especially towards the end) but it was a lot of fun.
I don't have the catalog of john hughes movies memorized, but I'm not sure if an expertise in them would have helped or hurt. on one hand - it's nice to really get references. On the other - I doubt this lives up to the standard Hughes set.
our rating: 3.4/5
Greenberg - It has quite a nice look to it, but the main character, as you've probably heard, is SO UNLIKABLE. That, and he really does not have any redeeming characteristics. Thus, the love story does not really make any sense. Why does this friendly, sweet girl keep returning to Greenberg? Clearly, good girls go for shitty guys all the time, but there is always some sort of reason! And here - no reason.
That, and it really can be a challenge to watch someone so unlikable for so long.
All that said, it was a pretty nice character study once you get past all that. Interesting enough, and one conversation about the problems with the emerging into adulthood GEN X was particularly riveting (cough cough...hate myself...cough cough).
Okay.
So perhaps that will do as a blog post for now.
TURTLE POWER!
Reposted from the Buffalo State Creative Writing Blog
Wow.
So we've been out of the loop for a while. Mostly just watching movies.
This is what we've seen lately:
She's Out Of My Leage - Ugh. This had potential, but ultimately fell short in the meatiest dramatic moments. Contrived conflict WILL sink a comedy script - and this movie is proof. Up until that 'all is lost' scene, I was pretty much on board, floating happily along, getting what I expected. So lesson: Don't underestimate the importance of getting your DRAMA right in a comedy.
our rating: 2.8/5
Hot Tub Time Machine - Better than League, by a lot. Realy good bits in this movie. And this movie is also an example of a good concept that is executed relatively well. It's not perfect, and there are some definite holes in the plot (especially towards the end) but it was a lot of fun.
I don't have the catalog of john hughes movies memorized, but I'm not sure if an expertise in them would have helped or hurt. on one hand - it's nice to really get references. On the other - I doubt this lives up to the standard Hughes set.
our rating: 3.4/5
Greenberg - It has quite a nice look to it, but the main character, as you've probably heard, is SO UNLIKABLE. That, and he really does not have any redeeming characteristics. Thus, the love story does not really make any sense. Why does this friendly, sweet girl keep returning to Greenberg? Clearly, good girls go for shitty guys all the time, but there is always some sort of reason! And here - no reason.
That, and it really can be a challenge to watch someone so unlikable for so long.
All that said, it was a pretty nice character study once you get past all that. Interesting enough, and one conversation about the problems with the emerging into adulthood GEN X was particularly riveting (cough cough...hate myself...cough cough).
Okay.
So perhaps that will do as a blog post for now.
TURTLE POWER!