{"id":73,"date":"2026-07-25T17:31:17","date_gmt":"2026-07-25T17:31:17","guid":{"rendered":"https:\/\/scriptcoveragepro.com\/blog\/?p=73"},"modified":"2026-07-25T17:31:19","modified_gmt":"2026-07-25T17:31:19","slug":"script-coverage-sample-what-a-real-consider-report-reads-like","status":"publish","type":"post","link":"https:\/\/scriptcoveragepro.com\/blog\/script-coverage-sample-what-a-real-consider-report-reads-like\/","title":{"rendered":"Script Coverage Sample: What a Real &#8220;Consider&#8221; Report Reads Like"},"content":{"rendered":"\n<!--\nTitle: Script Coverage Sample: What a Real \"Consider\" Report Reads Like\nSlug: script-coverage-sample\nMeta description: A complete script coverage sample carrying a Consider rating \u2014 full comments section included \u2014 plus a breakdown of the exact language that separates Consider from Pass.\nPrimary keyword: script coverage sample\nSecondary: sample script coverage report, coverage comments example, script coverage comments, real coverage example\n-->\n\n<style>\n.scp-post{color:#E8E2D8;}\n.scp-post p{color:#E8E2D8;}\n.scp-post li{color:#E8E2D8;}\n.scp-post h1{color:#F5EFE4;}\n.scp-post h2{color:#E0A458;}\n.scp-post h3{color:#E8E2D8;}\n.scp-post strong{color:inherit;}\n.scp-post table td{color:#E8E2D8;}\n.scp-post a{color:#E0A458;}\n<\/style>\n<div class=\"scp-post\">\n<h1 style=\"font-family:Georgia,serif;font-size:2em;line-height:1.25;margin:0 0 28px;color:#F5EFE4;\">Script Coverage Sample: What a Real &#8220;Consider&#8221; Report Reads Like<\/h1>\n<p>Consider is the most misread rating in development. Writers see it and hear &#8220;almost.&#8221; Executives see it and hear &#8220;there&#8217;s a problem, and someone thinks it&#8217;s worth solving.&#8221; Those are very different sentences, and the gap between them is where a lot of writers spend a year rewriting the wrong thing.<\/p>\n\n<p>The fastest way to understand the rating is to read one. Below is a full <strong>script coverage sample<\/strong> carrying a Consider \u2014 the comments section reproduced in full, not excerpted \u2014 followed by an analysis of the specific language that makes it a Consider rather than a generous Pass or a cautious Recommend.<\/p>\n\n<div style=\"border-left:3px solid #E0A458;background:rgba(224,164,88,0.06);padding:20px 24px;margin:32px 0;border-radius:4px;\">\n<p style=\"margin:0 0 10px;font-weight:600;color:#E0A458;letter-spacing:0.04em;text-transform:uppercase;font-size:0.82em;\">Key Takeaways<\/p>\n<ul style=\"margin:0;padding-left:20px;\">\n<li>Consider means the script has one identified problem and one identified asset, and the asset is worth the fix.<\/li>\n<li>The comments must name the fix specifically. Vague praise plus vague concern is a Pass wearing a nicer rating.<\/li>\n<li>Consider is a rating about the <em>next draft<\/em>, not the current one.<\/li>\n<li>Read the third and fourth paragraphs of any coverage \u2014 that&#8217;s where the real verdict lives.<\/li>\n<\/ul>\n<\/div>\n\n<h2>What Does a Consider Rating Actually Mean?<\/h2>\n\n<p>It means the reader is telling their employer: don&#8217;t buy this, but don&#8217;t close the file either. Something in the material justifies the cost of a second conversation.<\/p>\n\n<p>That&#8217;s a narrower claim than it sounds. Consider isn&#8217;t a participation grade handed to competent-but-unexciting scripts \u2014 those get a Pass with polite comments. Consider requires a specific, nameable asset: a premise, a voice, a character, a set piece. And it requires the reader to accept the risk of being wrong about it in writing.<\/p>\n\n<figure style=\"margin:32px 0;text-align:center;\">\n<svg viewBox=\"0 0 700 300\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" style=\"width:100%;max-width:700px;height:auto;\" role=\"img\" aria-label=\"Decision diagram showing how a reader arrives at a Consider rating\">\n  <rect x=\"0\" y=\"0\" width=\"700\" height=\"300\" fill=\"none\"\/>\n  <text x=\"350\" y=\"26\" text-anchor=\"middle\" fill=\"#E0A458\" font-family=\"Georgia, serif\" font-size=\"17\" font-weight=\"600\">How a Reader Lands on Consider<\/text>\n\n  <g font-family=\"Inter, sans-serif\">\n    <rect x=\"250\" y=\"48\" width=\"200\" height=\"40\" rx=\"20\" fill=\"rgba(255,255,255,0.03)\" stroke=\"rgba(224,164,88,0.4)\"\/>\n    <text x=\"350\" y=\"73\" text-anchor=\"middle\" fill=\"#E8E2D8\" font-size=\"12.5\">Is there a nameable asset?<\/text>\n\n    <line x1=\"350\" y1=\"88\" x2=\"350\" y2=\"112\" stroke=\"rgba(224,164,88,0.4)\" stroke-width=\"1\"\/>\n    <text x=\"362\" y=\"105\" fill=\"#8A8178\" font-size=\"10.5\">no \u2192 PASS<\/text>\n    <line x1=\"350\" y1=\"112\" x2=\"480\" y2=\"112\" stroke=\"rgba(224,164,88,0.2)\" stroke-width=\"1\" stroke-dasharray=\"3,3\"\/>\n\n    <rect x=\"250\" y=\"112\" width=\"200\" height=\"40\" rx=\"20\" fill=\"rgba(255,255,255,0.03)\" stroke=\"rgba(224,164,88,0.4)\"\/>\n    <text x=\"350\" y=\"137\" text-anchor=\"middle\" fill=\"#E8E2D8\" font-size=\"12.5\">Can you name the fix?<\/text>\n\n    <line x1=\"350\" y1=\"152\" x2=\"350\" y2=\"176\" stroke=\"rgba(224,164,88,0.4)\" stroke-width=\"1\"\/>\n    <text x=\"362\" y=\"169\" fill=\"#8A8178\" font-size=\"10.5\">no \u2192 PASS<\/text>\n\n    <rect x=\"250\" y=\"176\" width=\"200\" height=\"40\" rx=\"20\" fill=\"rgba(255,255,255,0.03)\" stroke=\"rgba(224,164,88,0.4)\"\/>\n    <text x=\"350\" y=\"201\" text-anchor=\"middle\" fill=\"#E8E2D8\" font-size=\"12.5\">Is the fix a rewrite?<\/text>\n\n    <line x1=\"250\" y1=\"196\" x2=\"150\" y2=\"196\" stroke=\"rgba(224,164,88,0.4)\" stroke-width=\"1\"\/>\n    <line x1=\"150\" y1=\"196\" x2=\"150\" y2=\"240\" stroke=\"rgba(224,164,88,0.4)\" stroke-width=\"1\"\/>\n    <rect x=\"60\" y=\"240\" width=\"180\" height=\"42\" rx=\"6\" fill=\"rgba(224,164,88,0.28)\" stroke=\"#E0A458\" stroke-width=\"1.5\"\/>\n    <text x=\"150\" y=\"260\" text-anchor=\"middle\" fill=\"#F5EFE4\" font-size=\"13\" font-weight=\"700\">CONSIDER<\/text>\n    <text x=\"150\" y=\"275\" text-anchor=\"middle\" fill=\"#C9B99A\" font-size=\"10\">Yes \u2014 fixable, worth fixing<\/text>\n\n    <line x1=\"450\" y1=\"196\" x2=\"550\" y2=\"196\" stroke=\"rgba(224,164,88,0.4)\" stroke-width=\"1\"\/>\n    <line x1=\"550\" y1=\"196\" x2=\"550\" y2=\"240\" stroke=\"rgba(224,164,88,0.4)\" stroke-width=\"1\"\/>\n    <rect x=\"460\" y=\"240\" width=\"180\" height=\"42\" rx=\"6\" fill=\"rgba(224,164,88,0.14)\" stroke=\"rgba(224,164,88,0.6)\" stroke-width=\"1\"\/>\n    <text x=\"550\" y=\"260\" text-anchor=\"middle\" fill=\"#E8E2D8\" font-size=\"13\" font-weight=\"700\">RECOMMEND<\/text>\n    <text x=\"550\" y=\"275\" text-anchor=\"middle\" fill=\"#8A8178\" font-size=\"10\">No \u2014 it&#8217;s already working<\/text>\n  <\/g>\n<\/svg>\n<\/figure>\n\n<p>Notice both Pass exits. A script with no identified asset gets a Pass. A script with an asset but no nameable fix also gets a Pass \u2014 because &#8220;this has something, I don&#8217;t know what to do about it&#8221; isn&#8217;t information anyone can spend money on.<\/p>\n\n<h2>The Sample Report<\/h2>\n\n<p>The script is <em>THE LONG SATURDAY<\/em>, a fictional feature we use as a teaching sample. The report below is written exactly as it would go into a real coverage file.<\/p>\n\n<div style=\"border:1px solid rgba(224,164,88,0.25);background:rgba(255,255,255,0.02);padding:26px 30px;margin:28px 0;border-radius:6px;\">\n<p style=\"margin:0 0 18px;color:#E0A458;font-size:0.78em;letter-spacing:0.12em;text-transform:uppercase;\">Coverage \u2014 The Long Saturday<\/p>\n\n<table style=\"width:100%;border-collapse:collapse;font-size:0.93em;margin-bottom:24px;\">\n<tbody>\n<tr><td style=\"padding:4px 0;width:30%;color:#8A8178;\">WRITER<\/td><td style=\"padding:4px 0;\">J. Okonjo-Bell<\/td><\/tr>\n<tr><td style=\"padding:4px 0;color:#8A8178;\">FORM<\/td><td style=\"padding:4px 0;\">Feature \u2014 97 pages<\/td><\/tr>\n<tr><td style=\"padding:4px 0;color:#8A8178;\">GENRE<\/td><td style=\"padding:4px 0;\">Ensemble dramedy<\/td><\/tr>\n<tr><td style=\"padding:4px 0;color:#8A8178;\">DRAFT<\/td><td style=\"padding:4px 0;\">Second<\/td><\/tr>\n<tr><td style=\"padding:4px 0;color:#8A8178;\">SETTING<\/td><td style=\"padding:4px 0;\">Suburban Ohio, one day, present<\/td><\/tr>\n<\/tbody>\n<\/table>\n\n<p style=\"margin:0 0 6px;color:#E0A458;font-size:0.78em;letter-spacing:0.12em;text-transform:uppercase;\">Logline<\/p>\n<p style=\"margin:0 0 24px;\">Over the twelve hours of their father&#8217;s estate sale, three adult siblings must decide who gets the house \u2014 while the buyer they&#8217;ve been waiting for sits in the driveway, refusing to come in.<\/p>\n\n<p style=\"margin:0 0 6px;color:#E0A458;font-size:0.78em;letter-spacing:0.12em;text-transform:uppercase;\">Comments<\/p>\n\n<p style=\"margin:0 0 12px;\">THE LONG SATURDAY has one of the best-observed families I&#8217;ve read this year and does not know what to do with them. The dialogue is exceptional \u2014 genuinely funny, unforced, and specific in a way that suggests lived experience rather than research. Two of the three siblings are fully realized within their first scene. But the script has no engine, and by p. 60 the strain of that absence is visible on every page.<\/p>\n\n<p style=\"margin:0 0 12px;\">Start with what works, because it&#8217;s substantial. The opening twenty pages are close to flawless. The scene on p. 8 \u2014 DENISE pricing her mother&#8217;s costume jewelry while carrying on a work call she can&#8217;t admit she&#8217;s on \u2014 establishes character, history, class anxiety, and the film&#8217;s whole tonal register in three pages without a line of exposition. RAY&#8217;s entrance on p. 14, apologizing to a stranger for a thing he did to his sister, is the kind of introduction most writers spend a full act building toward. The house itself is written with real affection. This is a writer who can see people.<\/p>\n\n<p style=\"margin:0 0 12px;\">The problem is structural and it&#8217;s the same problem throughout: nothing forces the decision. The premise promises that these three have to determine who gets the house, but nothing in the script makes the day the deadline. The buyer in the driveway should be that pressure \u2014 and for about eight pages, he is. Then he becomes a running gag. By p. 45 he&#8217;s a punchline the film cuts to when a scene needs an exit, and the tension he was carrying evaporates. Whatever the intent, the effect is that the film&#8217;s only clock gets defanged.<\/p>\n\n<p style=\"margin:0 0 12px;\">Consequently the middle forty pages are a series of excellent scenes that don&#8217;t accumulate. Any of pp. 45\u201375 could be reordered without damage, which is the reliable diagnostic for an absent spine. The siblings talk, brilliantly, and end each conversation approximately where they started. There&#8217;s a version of this movie where that stasis is the point \u2014 but that movie needs to know it&#8217;s about stasis, and this one keeps gesturing toward a resolution it hasn&#8217;t built the machinery to reach.<\/p>\n\n<p style=\"margin:0 0 12px;\">The third sibling, MICAH, is the other issue and probably the easier one. He has no want. Denise wants to be forgiven, Ray wants to be needed, and Micah wants \u2014 as far as the draft indicates \u2014 to be present. He gets the most screen time and the least definition, and every scene he anchors goes slack. He isn&#8217;t a bad character; he&#8217;s an unfinished one, and finishing him would firm up a third of the runtime.<\/p>\n\n<p style=\"margin:0 0 12px;\">What&#8217;s the fix? Reinstate the buyer as an actual force. If he leaves at sundown and the offer leaves with him, every scene in the middle acquires a cost it currently lacks, and the same brilliant dialogue starts doing structural work instead of sitting beside it. That&#8217;s a rewrite, not a polish \u2014 probably a substantial one. But the asset here is not a premise that a hundred other writers could execute. It&#8217;s a voice, and voices are the thing that can&#8217;t be developed into existence. The scenes on pp. 8, 14, and 52 are the reason this isn&#8217;t a pass.<\/p>\n\n<p style=\"margin:0 0 24px;\">Recommend meeting the writer regardless of what happens with this draft.<\/p>\n\n<p style=\"margin:0 0 6px;color:#E0A458;font-size:0.78em;letter-spacing:0.12em;text-transform:uppercase;\">Evaluation<\/p>\n<table style=\"width:100%;border-collapse:collapse;font-size:0.93em;\">\n<tbody>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:7px 0;width:50%;\">Premise<\/td><td style=\"padding:7px 0;\">Good<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:7px 0;\">Structure<\/td><td style=\"padding:7px 0;\">Poor<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:7px 0;\">Characterization<\/td><td style=\"padding:7px 0;\">Excellent<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:7px 0;\">Dialogue<\/td><td style=\"padding:7px 0;\">Excellent<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:7px 0;\">Commercial Potential<\/td><td style=\"padding:7px 0;\">Fair<\/td><\/tr>\n<tr style=\"border-bottom:2px solid rgba(224,164,88,0.4);border-top:2px solid rgba(224,164,88,0.4);\"><td style=\"padding:11px 0;font-weight:700;color:#E0A458;\">SCRIPT<\/td><td style=\"padding:11px 0;font-weight:700;color:#E0A458;\">CONSIDER<\/td><\/tr>\n<tr style=\"border-bottom:2px solid rgba(224,164,88,0.4);\"><td style=\"padding:11px 0;font-weight:700;color:#E0A458;\">WRITER<\/td><td style=\"padding:11px 0;font-weight:700;color:#E0A458;\">RECOMMEND<\/td><\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n<h2>Why This Is a Consider and Not a Pass<\/h2>\n\n<p>Three sentences do the work, and none of them are the ones a writer would expect.<\/p>\n\n<p>The first is <em>&#8220;has one of the best-observed families I&#8217;ve read this year and does not know what to do with them.&#8221;<\/em> That&#8217;s the entire report in one line \u2014 asset, then failure, in that order, with the asset stated as a superlative the reader is willing to be held to. A Pass version of that sentence reads: &#8220;has a well-observed family but struggles to find a shape for them.&#8221; Same content. Completely different level of commitment.<\/p>\n\n<p>The second is <em>&#8220;Reinstate the buyer as an actual force. If he leaves at sundown and the offer leaves with him&#8230;&#8221;<\/em> \u2014 a specific, executable fix. This is the sentence that makes the rating legitimate. Coverage that identifies a problem without proposing a mechanism is diagnosis without treatment, and readers who habitually do it end up writing very tactful Passes with Consider written at the bottom.<\/p>\n\n<p>The third is <em>&#8220;voices are the thing that can&#8217;t be developed into existence.&#8221;<\/em> That&#8217;s the reader making an argument about why the fix is worth the money. Structure can be fixed with a good executive and six weeks. Voice can&#8217;t be bought. That asymmetry is the actual case for Consider, and stating it out loud is what separates a report someone acts on from a report someone files.<\/p>\n\n<h2>The Language of Consider vs. Pass<\/h2>\n\n<p>Read enough coverage and the vocabulary becomes legible. Certain constructions are load-bearing; others are polite noise.<\/p>\n\n<table style=\"width:100%;border-collapse:collapse;margin:28px 0;font-size:0.95em;\">\n<thead>\n<tr style=\"border-bottom:2px solid rgba(224,164,88,0.4);\">\n<th style=\"text-align:left;padding:10px 8px;color:#E0A458;font-weight:600;\">Reads like a Pass<\/th>\n<th style=\"text-align:left;padding:10px 8px;color:#E0A458;font-weight:600;\">Reads like a Consider<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:9px 8px;\">&#8220;There&#8217;s something here.&#8221;<\/td><td style=\"padding:9px 8px;\">&#8220;The scenes on pp. 8, 14, and 52 are the reason this isn&#8217;t a pass.&#8221;<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:9px 8px;\">&#8220;The second act needs work.&#8221;<\/td><td style=\"padding:9px 8px;\">&#8220;pp. 45\u201375 could be reordered without damage.&#8221;<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:9px 8px;\">&#8220;With revisions this could be strong.&#8221;<\/td><td style=\"padding:9px 8px;\">&#8220;Reinstate the buyer as a force and the middle acquires a cost.&#8221;<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:9px 8px;\">&#8220;The dialogue is a strength.&#8221;<\/td><td style=\"padding:9px 8px;\">&#8220;The dialogue is exceptional \u2014 specific in a way that suggests lived experience.&#8221;<\/td><\/tr>\n<tr style=\"border-bottom:1px solid rgba(255,255,255,0.06);\"><td style=\"padding:9px 8px;\">&#8220;Not quite there yet.&#8221;<\/td><td style=\"padding:9px 8px;\">&#8220;That&#8217;s a rewrite, not a polish.&#8221;<\/td><\/tr>\n<\/tbody>\n<\/table>\n\n<p>Every phrase in the left column is compatible with never thinking about the script again. Every phrase in the right column commits the reader to a claim. That&#8217;s the whole distinction \u2014 Consider is a rating you have to defend, and the prose either defends it or reveals that you didn&#8217;t mean it.<\/p>\n\n<h2>What Should a Writer Do With a Consider?<\/h2>\n\n<p>Read the fix paragraph and ignore the rating. This is counterintuitive and it&#8217;s the most useful advice available on the subject.<\/p>\n\n<p>The rating is a signal to the company. The fix paragraph is a signal to you, and it&#8217;s the only part of the document with information you can use. If the reader names a specific structural cause and proposes a mechanism, you&#8217;ve received something valuable regardless of whether the word at the bottom says Consider or Pass. If they haven&#8217;t \u2014 if you got a Consider with four paragraphs of hedged encouragement \u2014 you&#8217;ve received nothing but a mood.<\/p>\n\n<p>The other thing worth noticing: the writer rating. In the sample above, the script is a Consider and the writer is a Recommend. That&#8217;s not a consolation prize. In practice it&#8217;s often the more consequential line, because it&#8217;s the one that gets someone into a room. Scripts get passed on constantly. Writers get remembered.<\/p>\n\n<div style=\"border:1px solid rgba(224,164,88,0.3);background:rgba(224,164,88,0.05);padding:26px 30px;margin:36px 0;border-radius:6px;text-align:center;\">\n<p style=\"margin:0 0 8px;font-family:Georgia,serif;font-size:1.15em;color:#E8E2D8;\">Find out what your script would actually get.<\/p>\n<p style=\"margin:0 0 16px;color:#8A8178;font-size:0.95em;\">ScriptCoveragePro returns a full report with the rating, the reasoning, and the specific fix \u2014 written the way the sample above is written.<\/p>\n<p style=\"margin:0;\"><a href=\"\/\" style=\"color:#E0A458;font-weight:600;text-decoration:none;border-bottom:1px solid rgba(224,164,88,0.5);\">Get your coverage \u2192<\/a><\/p>\n<\/div>\n\n<h2>Frequently Asked Questions<\/h2>\n\n<h3>Is a Consider rating good news?<\/h3>\n<p>It&#8217;s real news, which is rarer. Consider means a professional reader put their name on a claim that your script has an asset worth spending money to fix. That&#8217;s meaningfully different from a polite Pass. But it&#8217;s a rating about your next draft, not this one \u2014 treat it as an assignment rather than an achievement.<\/p>\n\n<h3>Why do some coverage samples rate the script and writer separately?<\/h3>\n<p>Because they&#8217;re separate questions. A script can be structurally unsound while the person who wrote it is obviously worth a meeting \u2014 the sample above is exactly that case. Companies staffing writers&#8217; rooms and open assignments care about the second rating far more than the first.<\/p>\n\n<h3>How specific should coverage comments be?<\/h3>\n<p>Page-specific. Every claim in the sample above attaches to a page number or a page range. Comments without page references can be written by someone who skimmed, and everyone in development knows it. Specificity is the only proof of reading that coverage can offer.<\/p>\n\n<h3>Can a script get Consider with a Poor structure score?<\/h3>\n<p>Yes, and the sample demonstrates why. Structure is fixable with time and a good development executive. Voice isn&#8217;t. A Poor structure attached to Excellent characterization and dialogue is a coherent Consider; the reverse \u2014 good structure, dead voice \u2014 is almost always a Pass.<\/p>\n\n<h3>Do readers ever change a rating after writing the comments?<\/h3>\n<p>Frequently, and it&#8217;s a sign of a good reader. The comments are where the argument gets made, and sometimes the argument doesn&#8217;t hold. If you can&#8217;t write a paragraph defending a Consider, you didn&#8217;t have one. Write the prose, then set the rating.<\/p>\n\n<h2>Read the Fix, Not the Verdict<\/h2>\n\n<p>A Consider is a reader saying: I found something I can&#8217;t get elsewhere, and I found a problem I can describe. Both halves have to be there. Without the asset it&#8217;s a Pass. Without the nameable fix it&#8217;s also a Pass, just a slower one.<\/p>\n\n<p>If you&#8217;re writing coverage, the test is whether you can defend the rating in one sentence with a page number in it. If you&#8217;re the writer receiving it, skip to the paragraph that starts &#8220;what&#8217;s the fix.&#8221; Everything else is context.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Script Coverage Sample: What a Real &#8220;Consider&#8221; Report Reads Like Consider is the most misread rating in development. 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