AI script coverage

AI Script Coverage: is it worth it? by Daniel Calvisi @storymapsdan

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AI script coverage, AI screenplay coverage

We were warned.

“Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should.”

-Jeff Goldblum, sexy dino scientist

As a writing coach and a former industry reader, people have been asking me for my thoughts on AI script coverage. When I first learned that writers were turning to AI to analyze their work, I couldn’t believe it. It seemed insane to me. Honestly, it still does. I still can’t help but ask “If you wouldn’t let AI WRITE your screenplay, why would you trust it to EVALUATE your screenplay?”

But I know people are doing it, and I can’t stop them. As I don’t like to talk about things that I haven’t tried, I decided to give it a whirl with some test screenplays. I ended up feeding several different scripts into Google Gemini using my own prompt based on the coverage reports that I used to write for studios. More on the results of my test runs with four sample scripts later.

First, I’ll give you my general takeaways from my experiments with AI “coverage” reports…

  • It’s way too nice. Gemini must really want us to like them, because they seemed to heap a lot of praise on every script I fed in. Even the beginner script.
  • It doesn’t understand TV structure. The Breaking Bad pilot coverage praised how “the script flawlessly executes a three-act structure.” The only problem is, Vince Gilligan’s Breaking Bad pilot was written in a Teaser + 4 acts structure, NOT a three-act structure. (Note: My book Story Maps: TV Drama also offers a Teaser + 5 breakdown of the Breaking Bad pilot) Bottom line, neither one-hour nor half-hour pilots use a three-act structure. I don’t think Mr. Google Gemini knows that.
  • It demands 100% clarity! Forget nuance or subtext or calculated ambiguity, it’s obsessed with EVERYTHING being explained. (See Weapons section below)
  • It doesn’t have a sense of humor. Comedy is subjective, but a good reader should be able to recognize if they’re not the target audience of a comedy and express this to the writer. I’ve definitely given notes like “I personally didn’t find this very funny, but then I’m not the audience. This seems to be written for teens, so I suggest you run it by them and see how they react.” AI doesn’t seem to “get” nuances in tone or how comedy can hit different for different generations.
  • It struggles to offer actionable suggestions for fixing issues. The AI will say something like “Strengthen Paul’s internal conflict and vulnerability.” Okay, so how do you do that, exactly?
  • A positive: it does a decent job of generating a synopsis and logline. But if you do this, make sure to PROOF it before you send to anyone! There may be some serious errors in there. (Also, be aware that you’re taking the risk of uploading your work into “the machine.” More on my feelings about that, below.)
  • It doesn’t understand the market or the arc of a writer’s career. This was a huge problem for me. More on this later.

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The Fantastic Four screenplay

The Fantastic Four and Superman: A Tale of Two Babies by @storymapsdan

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The Fantastic Four screenplay

A Bundle of Joy and a Dumptruck full of Doodads:
The Fantastic Four steps on Superman

by Daniel Calvisi

 It’s all about that “core” conflict

It’s late summer 2025 and the two big superhero movies of the season have come out: Superman from DC and The Fantastic Four: First Steps from Marvel. At the box-office, the films had very similar domestic and international openings, but it’s clear Superman is having more staying power at the cinema.

That’s too bad, because, creatively, I believe Fantastic Four is a much better film than Superman, and its success began with a foundation of solid writing choices (ironic, considering that Superman had one writer and Fantastic Four had several writers and even went through an arbitration process to decide final credits). Both films are visually stunning, but it’s the story and characters that make Fantastic Four stand out to me.

I must admit, I wasn’t always this bully on the prospect of a new FF movie. In the run-up to the release, I definitely had my doubts. I was worried about reports that we wouldn’t see their origin but rather join the FF already in action as a successful world-saving superhero team. I was worried about the retro-style and the story being set in an alternate universe outside of the core MCU films. But mostly, I was flummoxed as to why they were including Sue Storm’s pregnancy so early in the saga. In the original comics by Stan Lee and Jack Kirby, she doesn’t become pregnant with Franklin Richards until years into the run. It seemed like the perfect ending to this film would be Sue saying “I’m pregnant.” Cut to credits.

Oh boy, was I wrong to worry. The baby was the BEST thing that could have happened to this film. Not only was it unique to have a superhero movie revolve around a pregnancy, but the brilliant “core” conflict of the film is built around it, and this core conflict is the greatest strength of The Fantastic Four: First Steps. Everything else is window dressing. Read more

Final Destination: Bloodlines screenplay

10 Takeaways from 4 Horror Producers by Daniel Calvisi

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Final Draft: Bloodlines screenplay

TEN TAKEAWAYS from a HORROR WORKSHOP
with FOUR WORKING PRODUCERS

By Daniel Calvisi

I recently completed the inaugural run of my “Story Maps Horror & Thriller Seminar,” a 4-week course wherein I guided a small group of screenwriters to develop original concepts for films and television series in the hottest genres in entertainment. Along the way, I brought in four guest speakers, industry veterans with credits including Final Destination, Cabin Fever, The Manor, Blumhouse, Netflix, Amazon and Lifetime’s “At 17” franchise. These producers, most of whom are also writers and directors, gave multiple rounds of notes on my students’ loglines and provided invaluable bits of insight in exclusive Zoom sessions that touched on craft and career.

Below, I’ve gathered some of the best pearls of wisdom they shared with us. If these lessons intrigue you and you’re interested in developing your own dynamic concept for a genre film, we will be running the course again so click here to check on dates and availability.

In no particular order: Read more

Horror at the Oscars (Concept Creation and “The Substance”) by Daniel Calvisi

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When we think of the Oscars, we don’t immediately think Horror movies. But it happens. This year, we got The Substance with five nominations and Nosferatu with four. Alien: Romulus claimed one nomination. Academy-lauded Horror films of the past include The Sixth Sense, Get Out, Misery, The Exorcist and Best Picture-winning The Silence of the Lambs, which many label a Horror film, although I’m not sure I agree.

I’d also make a case for Parasite (Winner Best Picture and Best Original Screenplay 2020) being considered a “slow burn” horror story. Consider three big structural elements native to the genre: There is a terrifying reveal late in the film (the man trapped in the basement); it all builds to a horrific incident of violence (the party); and it ends with a very dark coda that offers up a nice bit of dramatic irony (the new guy in the basement).

Get Out is the best example of “elevated” horror success in the past decade, and Jordan Peele deservedly took home the Best Original Screenplay Oscar in 2018. There is a lot to say about the story construction of Get Out that I get into in the new edition of my book, but let’s focus on one of 2024’s breakout films (in a year where there were a lot of breakout horror films).

The Substance screenplay

The Substance made its mark not just with its outrageous body-horror moments (and they are outrageous!), but I think it primarily got noticed (and possibly greenlit) due to its IDEA, that was simultaneously, classic, relatable and relevant. A logline: A desperate actress turns to a mysterious, regimented procedure that creates a younger version of herself, but when she tries to game the system, she’s met with increasingly disastrous consequences and finds herself at war with her starlet alter-ego. It’s a modern, satirical take on the doppelgänger myth meets Hollywood. And it’s a great concept.

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‘Yes, And’-ing Your Story: The Sixth Sense by Daniel Calvisi

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Let’s do some more “Yes, and’ing” of movie stories, shall we? This time, I’ve looked at a screenplay that I originally covered on the job as a professional Reader, then watched it sell in a huge $3+ million deal for M. Night Shyamalan to write and direct the film that not only went on to become a huge hit, but at the time it became the biggest horror film to date and even broke into the top ten of biggest box-office hits in history (not adjusted for inflation). You know it, you love it.

The Sixth Sense. Read more

‘Yes, And’-ing your story: The Hunger Games by Daniel Calvisi

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When watching a movie or TV show, I’m always thinking about how and why a story works, and how and why the writer made those particular story choices. I’m also intrigued by how the concept began. How small was the kernel of the idea when they began to formulate the story and how did they go about expanding on the original premise to populate their world and find the protagonist’s ultimate journey?

I had the thought that the ol’ Improv 101 method of “Yes, and” could make for a great method to build a story from the first bud of an idea. At least, to get it started. This would probably work best with a writing partner or a group as you talk aloud and just keep the conversation and ideas going, but you can also do it on your own. (I also call this method “concept stacking” because it’s a process of adding new elements on top of an original premise.) Read more

8mm screenplay nicolas cage

A Great Thriller by Daniel Calvisi

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nicolas-cage-8mm-screenplay-analysis-a-great-thriller-screenplays

I’d like to tell you what I love to see in a great Thriller screenplay.
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The Bear pilot: Script to Screen

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My idea of fun is to go back and watch the pilot episodes of my favorite shows. You find so many little moments and Easter Eggs that make you scratch your head and wonder, How did they know to plant that little bit that wouldn’t pay off until Season Five?

Seriously, I’d rather sit home and watch the pilots of all my favorite shows again than actually dine in a Michelin star restaurant. Speaking of fine dining…

I’m been working on my deep analysis of the pilot of The Bear, the half hour Emmys juggernaut written and directed by Christopher Storer. I’ve seen all three seasons of the show, more than once, so when I go back to the pilot I pick up on about a million little things that have greater significance now that I’ve spent more time in this world. It’s pretty much the deal with all great pilots. You watch them and you realize one thing.

It’s all there. Read more

How to write a GREAT script!

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It ain’t easy, but if you strive for excellence and you put in the time, you just may write something that’s not just good but great.

I don’t see any other goal. You’re here to create a great movie that will stand the test of time. Seems obvious to me.

But…we all know those newbies who are only in it to write one screenplay and sell it for the “big money.” Well, they can keep dreaming because this is a very unique, detailed, demanding, difficult and rewarding craft and it takes more than just one script to get it down.

It takes a strong commitment to being the best. Writing the best Thriller to blow away all Thrillers. The most hilarious, relevant Comedy. The most stirring Drama. The most kleenex-wetting Romance.

And here’s where it begins. Right here, in this article.

Yes, it’s true, let there be no more speculation and no more confusion. Why?

I’ve got a list.

And everybody loves lists. (Don’t they?) Read more

How to Write a GREAT Script! page 2

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back to page one

In fact, each one of those categories in the Great Script list represents a great deal of study and practice. To truly understand each element is the first challenge and it takes time to get there. From there, the ability to implement each element on the page requires a strong focus, a raw instinct for story, a dedication to working hard over a long-term schedule and the helping hand of smart, experienced friends and mentors.

Even the pros have trouble pulling off all the elements of a great script. And even they need to show each draft to another reader as no writer, no matter their level, can be truly objective about their work.

I have so much to tell you about each one of the above elements that will help you look at movies and television in a new light. Basically, I can hand you the keys to how the pros do it so that you can find out who exactly is behind the curtain pulling all the switches and turning the dials.

But wait! There’s also those things you should not do. And I have a list for that crap, too.

In fact, I have a bigger list that I’ve given my students for years, but here’s the majors, the dealbreakers…

Biggest mistakes (in no particular order of badness):

Lack of a clear theme
Passive protagonist
Story not actively moving forward
Lack of conflict
No “rootability” for your protagonist
No “clock”

Got it? Good!

I mean…Great!

Because that’s the goal, right? To write a great one. I see no other way.

It’s going to be tough. It’s going to be rough. But it’s going to be exhilarating.

I’d love to help you get on your way, build your story with the strongest foundation possible and ultimately achieve your craft and career goals. If you’d like to work with me, please take a look at My Script Services and drop me a line.

Good Luck and Happy Writing!

–Dan Calvisi

CHARACTER = ACTION:

Special Offer on Story Maps E-Books

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Choosing a Script Service for your screenplay: “Those Who Teach” by Daniel Calvisi

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script

Looking for a professional script doctor
or script service to teach you
how to write a screenplay
in the most professional, polished,
industry standard method?

Are you sick of wading through the hundreds of websites that offer “script services” or “movie script coaching?”

Think your screenplay deserves the best script doctoring and coaching you can find on the internet?

Did you hire a joker that took your money and gave you template notes or sub-standard coverage?

Are you wondering why the flashy website for a script doctor or screenplay service doesn’t have a bio page or list any credentials?

Did you pay good money to enter your script in yet another contest only to place in the “Top 25%” (whatever that means) and find out that the volunteer judges chose a boring screenplay that will never get made in Hollywood as the winner ?

Are your friends and writing group members not providing the level of detail and story solutions to truly help you take your work to the next level?

Choosing the right script service
can be a daunting task.
But it’s a crucial decision for
those looking for help with
how to write a screenplay.

A screenplay that will blow away Readers.

I should know, as I’ve been working professionally with screenplays and writers for almost fifteen years. I’ve worked as a Senior Story Analyst for major movie studios and production companies and I’ve seen the quality of writing at this level.

I was paid to give a Pass, Consider or Recommend to scripts and books being submitted by agents, managers and major stars.

In this article, I break down the basics of script services and offer some little-known tips to help you find the best script doctor for you. I will discuss…

  1. The three main types of Screenplay Coach/Consultants
  2. The inherent problems with Coverage services
  3. Writers vs. Teachers
  4. The “Triple Threat” of Screenwriting Coaches
  5. What I can offer YOU and more

Read more

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Choosing a Script Service or Screenplay Consultant Part II: The Three Main Types of Script Services You Can Hire

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Scripts for your desk drawer or a major studio greenlight?

“Those Who Teach” Choosing a Screenwriting Coach

by Daniel Calvisi, professional Story Analyst (Miramax Films, Dimension Films, Twentieth Century Fox, New Line Cinema) and author of Story Maps: How to Write a GREAT Screenplay

PART II: The three main types of screenplay coaches/consultants you can hire…

1) The Produced Screenwriter

A screenwriter who has sold scripts and had their work produced can give you great insights into the creative process and how to tailor your work for the market. Their commercial instincts, stories from the trenches, and real-world experience from the writer’s side of the business are invaluable, but I have to stress that it’s also important that they have a good deal of experience as a coach/teacher.

If they don’t have the ability to assess your skill level or find the right words and examples to guide you to make progress, then their experience is not worth much. Keep in mind that many screenwriters only know the biz from their side of the desk, which may or may not be what you need. For example, you’ll hear screenwriters bitching about coverage and how it’s the scourge of the industry. But coverage is a necessary evil and it’s here to stay, so I advise that you try to write your script with an eye toward blowing away the Reader who will be writing that coverage report.

I’ve also heard about screenwriters who try to make your script more like theirs. They are essentially guiding you to rewrite your script how THEY would rewrite it, which is not helpful, especially if they’ve never worked in your genre.

Buyer beware.

The next type of script service is…
Read more

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Choosing a Script Service or Screenplay Consultant Part III: The Triple Threat

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The Triple Threat: Industry Vet, Teacher and Coach

Due to the recent economy woes and all the layoffs in Hollywood, you’ll probably spot more new script services founded by recently downsized development and agency employees. Yes, they’ve worked in the industry, but have they taught and coached writers to improve their work?

As I stressed in part one of this article, there’s no substitute for years of teaching and coaching writers. My time on the job in the industry was only half of my training — teaching and guiding hundreds of writers was the second half. I’ve learned so much from you writers and I’ve tried to use it to make me better at what I do.

Here’s an example. Years ago, a client stressed to me that I was being quite harsh. My “tough love” approach was leaning too heavily on the tough and not enough on the love! So I took that lesson to heart and from that day forward, decided to communicate more positive feedback into my notes. I now always begin with what I liked about a script, before I get into what needs work.

I’m still going to be direct, honest and yes, tough, because I can guarantee you the industry will be ten times tougher, but I also understand that an artist needs to first hear good things about their work for them to be receptive to any criticism. When I show my own work to friends and colleagues, I say “Tell me something nice first.  Tell me what you liked before you get into what you didn’t like.”

Key principles…

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The Difference Between Film and Television Concepts by Daniel Calvisi

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Dear Screenwriter,

You may come up with a cool idea for a movie and be told that it would make a better TV series, or you may create a concept for a TV series and be told it’s more fit for the big screen. How do you tell the difference between a concept that works best as a Feature versus a TV pilot/series?

FEATURE FILM

Film is pretty simple: it is a complete story with a closed ending. Unless you’re writing the first part of a trilogy (which I do not recommend, unless you happen to have procured the rights to a best-selling book series), the ending wraps up your compelling tale which (hopefully) had a beginning, middle and end. It can be a happy or sad ending, but that particular narrative has reached a closing point. You’ve exhausted the concept and we, the Reader or Audience, are satisfied. Fade out.

95% of the time, a feature script/film is going to use the “classical” 4-Act structure (Act One, Act Two-A, Act Two-B and Act Three.). Even if the story is told in a non-linear way, it should ideally fit into this meta-structure. My Story Map structure fits ably into this form, and you can learn much more about it in my books and webinars.

The idea for a feature film should be able to be expressed in a logline, which is a one-line snapshot of the unique dramatic situation in approximately 20-30 words. A feature film logline should suggest a stand-alone story, rather than an ongoing saga. Here are three loglines for famous films:

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Story Maps TV Drama hit #1 on Amazon and knocked out Robert McKee’s Dialogue book

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Story Maps #1 on Amazon screenwriting book charts

I was so excited to see my book, Story Maps: TV Drama: The Structure of the One-Hour Television Pilot grab the #1 and #2 spots (for the Kindle and Paperback versions) on the Amazon Hot New Releases in Screenwriting chart! It was especially satisfying to see my book above the new entry from Robert McKee,  the venerable old statesman of the screenwriting instruction world. Read more

Click to go to TV Pilot Beat Sheet Webinar

TV PILOT BEAT SHEET WEBINAR: From ABC to AMC to HBO to Netflix

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Back by popular demand and updated with new material and a bonus map of the classic series MR. ROBOT, my webinar THE TV PILOT BEAT SHEET: FROM AMC TO HBO TO NETFLIX is now available for download. Read more

A script consultant is like a recording studio

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One afternoon in April 1990, Kurt Cobain, Krist Novoselic and drummer Chad Channing arrived at producer Butch Vig’s Smart Studios in Madison, Wisconsin… “They rolled up in a van,” says Vig, “and they probably hadn’t taken a bath or shower in three or four days.” The songs Nirvana began recording that day would eventually become Nevermind.

Source: Rolling Stone.

On January 3, 1991, five young musicians who called themselves “LunchHead” entered the same studio, used the same equipment as Nirvana, and paid Butch Vig the same fee. Read more

WHO THE F*$K IS STAN? and 14 other questions about TRUE DETECTIVE SEASON TWO

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“Forget about it, Ray. It’s Vinci.”

The great SLOG-WATCH of True Detective season two is over, and I’ve got a few things to say about it. But I’m not just here to point out flaws, I’m also offering solutions so that maybe we can learn something from the 8 1/2 hours of our lives we devoted to this season.

It was inevitable that from the first minute, the second season of True Detective would be compared to the first, and that would be a tough comp for any series. Season two has been almost universally judged to have fallen short of the bar set by the first season, which featured star talent, cinematic production values, some great writing and fantastic direction. Considering its evergreen pedigree, I can’t help but wonder if season two’s 8 episodes, as is, had aired on a different network, under a different name, if they would have been lambasted so badly. I’d surmise that it would have got off easier, but it still would have attracted a lot of criticism. With or without the comparison to the first season, True Detective season 2 was heavily flawed and utterly frustrating to watch. Read more

David Simon interview “SHOW ME A HERO” on HBO

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Oscar Isaac in "Show Me a Hero."

Oscar Isaac in “Show Me a Hero.”

David Simon is the creator of The Wire, which is often cited as the greatest television drama of all time. I wouldn’t argue with that label. His latest project is SHOW ME A HERO, a 6-hour miniseries on HBO, starring Oscar Isaac, Alfred Molina, Catherine Keener, Winona Ryder and many others, directed by Paul Haggis (“Crash”) and based on the book of the same name by Lisa Belkin. It is Executive Produced by Nina K. Noble, Gail Mutrux and William F. Zorzi.

Logline: In an America generations removed from the greatest civil rights struggles of the 1960s, the young mayor of a mid-sized American city is faced with a federal court order that says he must build a small number of low-income housing units in the white neighborhoods of his town. His attempt to do so tears the entire city apart, paralyzes the municipal government and, ultimately, destroys the mayor and his political future.

Q: When did you become aware of Lisa Belkin’s book? What initially struck you about it, and when did you see the potential for adapting it for the screen? Read more

BOOKENDS: We are all Don Draper (the pilot and series finale of Mad Men)

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Don Draper Mad Men image

Here’s a character arc we can all understand:

From blocked creative to fulfilled creative.

You know this story.

You’re young and it comes easy. It flows out of you. You get a bit older and it starts to feel more like work. Life intercedes, your creative side suffers, and you struggle. You hit the wall and you feel like you just can’t do it anymore. You’re blocked, stuck in the crucible, and it seems like there’s no escape. You contemplate giving up, throwing in the towel. It would be easier to just call it a day — it would alleviate a lot of pain. But you can’t. You have to keep fighting. You have to do the work. So you make a plan. First, you strip yourself of all that is holding you back. You get lean and mean. You do the work. It’s the only way. The only way to find your new path back to creative fulfillment. And one day it comes to you: that big idea. The lightbulb that illuminates that corner of your imagination that had been held in shadow for so long. Maybe it’s just the idea that gets you back at the desk, or maybe it’s a world-class winner of a concept that lights a fire across the globe.

This is your story. The story of every writer.

And, as we now know, it is the story of Don Draper, the now iconic character at the heart of Matthew Weiner’s Mad Men.

We are all Don Draper.

Just with less mistresses and whiskey.

I hope. Read more