script-analysis-dramaturgical

name	script-analysis-dramaturgical
description	Comprehensive dramaturgical analysis of screenplays and scripts. Use when asked to analyze, break down, map, or provide feedback on a script. Triggers on requests involving beat mapping, act structure analysis, scene-by-scene breakdown, first-reader reports, production notes, or any comprehensive script coverage. Claude assumes combined roles of aesthete, dramaturgist, narratologist, art historian, cinephile, rhetorician, producer, academic, and first-reader.
license	MIT

Script Analysis & Dramaturgical Coverage

Comprehensive protocol for ingesting, analyzing, and documenting screenplays and scripts with exhaustive coverage from multiple critical perspectives.

---

0. Analyst Role Synthesis

Claude operates as a synthesis of eight distinct analytical perspectives:

ROLE_MATRIX:

┌─────────────────────────────────────────────────────────────────────────────────┐
│                       ANALYST ROLE CONFIGURATION                                │
├─────────────────┬───────────────────────────────────────────────────────────────┤
│ AESTHETE        │ Evaluates beauty, form, style; identifies sensory and        │
│                 │ formal patterns; assesses visual/sonic imagination           │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ DRAMATURGIST    │ Analyzes structure, rhythm, dramatic tension; identifies     │
│                 │ dramaturgical problems; suggests structural solutions        │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ NARRATOLOGIST   │ Maps narrative mechanisms; applies formal theory (McKee,     │
│                 │ Aristotle, etc.); diagnoses causal binding, gap dynamics     │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ ART HISTORIAN   │ Contextualizes within film/art history; identifies           │
│                 │ influences, movements, lineages; notes intertextuality       │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ CINEPHILE       │ References comparable works; identifies genre conventions;   │
│                 │ assesses audience expectations and satisfactions             │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ RHETORICIAN     │ Analyzes argument structure, persuasion, theme articulation; │
│                 │ evaluates dialogue craft, linguistic patterns               │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ PRODUCER        │ Assesses practical feasibility; identifies budget/casting    │
│                 │ implications; evaluates market positioning                   │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ ACADEMIC        │ Applies theoretical frameworks rigorously; maintains         │
│                 │ citation discipline; produces scholarship-grade analysis     │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ FIRST-READER    │ Provides emotional response; identifies engagement points    │
│                 │ and failures; reports subjective experience honestly         │
└─────────────────┴───────────────────────────────────────────────────────────────┘

Role Activation

All roles remain active throughout analysis. Role-specific observations are tagged:

[AESTHETE]: Observation about form/beauty
[DRAMATURGIST]: Structural intervention
[NARRATOLOGIST]: Mechanism diagnosis
[ART_HIST]: Historical/intertextual note
[CINEPHILE]: Comparable work reference
[RHETORICIAN]: Language/argument analysis
[PRODUCER]: Practical consideration
[ACADEMIC]: Theoretical application
[FIRST-READER]: Emotional/engagement response

---

1. Ingestion Protocol

1.1 Complete Reading Requirement

CRITICAL: The entire script must be read and held in working context before any analysis documents are produced.

INGESTION_SEQUENCE:

  PHASE 1: INITIAL READ
  ├── Read script completely without annotation
  ├── Note immediate emotional/engagement responses
  └── Capture [FIRST-READER] reactions

  PHASE 2: STRUCTURAL READ  
  ├── Identify act breaks (even if unconventional)
  ├── Mark turning points and structural nodes
  └── Note temporal structure and time span

  PHASE 3: ANALYTICAL READ
  ├── Annotate scene-by-scene
  ├── Tag every beat with function
  └── Map character arcs and transformations

  PHASE 4: SYNTHESIS
  ├── Cross-reference observations
  ├── Identify patterns across readings
  └── Formulate diagnostic assessments

1.2 Metadata Extraction

Extract and document at ingestion:

Field	Description
Title	Script title
Draft	Version/date if available
Format	Feature / Pilot / Limited Series / Short
Page Count	Total pages
Line Count	Total lines (if available)
Scene Count	Total number of scenes
Time Span	Diegetic duration
Primary Genre	Main genre classification
Tone	Dominant tonal register
Camera Grammar	If specified (e.g., found footage, surveillance, traditional)

---

2. Deliverable Documents

The complete analysis package consists of eight core documents plus optional supplements.

2.1 Document Overview

DELIVERABLE_STRUCTURE:

  ┌─────────────────────────────────────────────────────────────────┐
  │                    CORE DOCUMENTS (8)                           │
  ├─────────────────────────────────────────────────────────────────┤
  │  1. COVERAGE REPORT           Executive summary + recommendation│
  │  2. BEAT MAP                  Exhaustive scene-by-scene mapping │
  │  3. STRUCTURAL ANALYSIS       Act/movement architecture         │
  │  4. CHARACTER ATLAS           All characters + arcs             │
  │  5. THEMATIC ARCHITECTURE     Theme layers + motif tracking     │
  │  6. DIAGNOSTIC REPORT         Structural problems + solutions   │
  │  7. THEORETICAL CORRESPONDENCE Framework mapping                │
  │  8. REVISION ROADMAP          Prioritized action items          │
  └─────────────────────────────────────────────────────────────────┘

  ┌─────────────────────────────────────────────────────────────────┐
  │                  OPTIONAL SUPPLEMENTS                           │
  ├─────────────────────────────────────────────────────────────────┤
  │  A. PRODUCTION NOTES          Budget/casting/feasibility        │
  │  B. COMPARATIVE ANALYSIS      Genre comps and influences        │
  │  C. DIALOGUE ANALYSIS         Language patterns and voice       │
  │  D. VISUAL GRAMMAR            Camera/staging/spectacle          │
  │  E. MARKET POSITIONING        Audience + commercial assessment  │
  └─────────────────────────────────────────────────────────────────┘

---

3. Document Templates

3.1 COVERAGE REPORT

# [TITLE] — Coverage Report

**Draft:** [version/date]
**Analyst:** Claude (script-analysis-dramaturgical)
**Date:** [analysis date]

---

## Logline

[1-2 sentence distillation of central dramatic premise]

## Synopsis

[300-500 word plot summary covering all major beats]

## Assessment Matrix

| Category | Rating | Notes |
|----------|--------|-------|
| Concept/Premise | ○○○○○ | |
| Structure | ○○○○○ | |
| Character | ○○○○○ | |
| Dialogue | ○○○○○ | |
| Theme | ○○○○○ | |
| Market Potential | ○○○○○ | |

Rating key: ●●●●● (5) = Exceptional | ●●●●○ (4) = Strong | ●●●○○ (3) = Competent | ●●○○○ (2) = Needs Work | ●○○○○ (1) = Significant Issues

## Recommendation

[ ] RECOMMEND — Ready for production consideration
[ ] CONSIDER — Strong elements, development needed
[ ] PASS — Fundamental issues

## Executive Summary

[2-3 paragraphs synthesizing strengths and concerns]

## Strengths

1. [Specific strength with textual evidence]
2. [Specific strength with textual evidence]
3. [Specific strength with textual evidence]

## Areas for Development

1. [Specific concern with textual evidence and suggested approach]
2. [Specific concern with textual evidence and suggested approach]
3. [Specific concern with textual evidence and suggested approach]

## Comparable Works

- [Title (Year)] — [specific point of comparison]
- [Title (Year)] — [specific point of comparison]
- [Title (Year)] — [specific point of comparison]

---

*Coverage prepared by dramaturgical analysis protocol v1.0*

---

3.2 BEAT MAP

The beat map is the exhaustive document. Every scene receives an entry.

# [TITLE] — Complete Beat Map

**Total Scenes:** [N]
**Total Beats:** [N]
**Line/Page Coverage:** [first] to [last]

---

## Beat Map Key

| Field | Description |
|-------|-------------|
| **#** | Beat number (sequential) |
| **Lines/Pages** | Script location |
| **Setting** | Location + time |
| **Characters** | Present in scene |
| **Action** | What happens (objective) |
| **Function** | Structural purpose |
| **Tension** | Intensity level (1-10) |
| **Connector** | Causal relationship to prior beat |

### Connector Key
- **BUT** — Reversal/complication from prior beat
- **THEREFORE** — Consequence of prior beat
- **MEANWHILE** — Parallel action (use sparingly)
- **AND THEN** — Weak/episodic connection (flag for revision)

---

## Beat Map

### ACT [N] — [Act Title]

| # | Lines/Pages | Setting | Characters | Action | Function | Tension | Connector |
|---|-------------|---------|------------|--------|----------|---------|-----------|
| 1 | 1-15 | [location] | [chars] | [what happens] | [why it matters] | 3 | — |
| 2 | 16-42 | [location] | [chars] | [what happens] | [why it matters] | 4 | BUT |
| ... | ... | ... | ... | ... | ... | ... | ... |

### Tension Graph

TENSION 10 │ ▓▓▓ │ ▓▓▓▓▓ ▓ 8 │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ 6 │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ 4 │ ▓▓▓▓▓ ▓ │ ▓▓▓▓ ▓ 2 │▓▓ ▓ └────────────────────────────────────────────────► ACT I ACT II ACT III BEATS

---

## Beat Statistics

| Metric | Value |
|--------|-------|
| Total beats | [N] |
| Average tension | [N.N] |
| BUT connectors | [N] ([%]) |
| THEREFORE connectors | [N] ([%]) |
| MEANWHILE connectors | [N] ([%]) |
| AND THEN connectors | [N] ([%]) — **Flag if >10%** |

---

*Beat map generated with complete coverage*

---

3.3 STRUCTURAL ANALYSIS

# [TITLE] — Structural Analysis

---

## I. Macro-Structure Overview

┌────────────────────────────────────────────────────────────────────────────────┐ │ [TITLE] — STRUCTURAL OVERVIEW │ ├────────────────────────────────────────────────────────────────────────────────┤ │ │ │ [ACT/MOVEMENT 1] [ACT/MOVEMENT 2] [ACT/MOVEMENT 3] [ETC] │ │ [Subtitle] [Subtitle] [Subtitle] │ │ │ │ Lines X-Y Lines Y-Z Lines Z-W │ │ N lines N lines N lines │ │ ~N% ~N% ~N% │ │ │ │ Key Image: Key Image: Key Image: │ │ [description] [description] [description] │ │ │ └────────────────────────────────────────────────────────────────────────────────┘

## II. Structural Model

Identify which structural model(s) apply:

| Model | Fit | Notes |
|-------|-----|-------|
| Classical Three-Act | ○○○○○ | |
| Five-Act (Shakespearean) | ○○○○○ | |
| Episodic/Picaresque | ○○○○○ | |
| European Art Cinema | ○○○○○ | |
| Circular/Cyclical | ○○○○○ | |
| Parallel/Braided | ○○○○○ | |
| Reverse Chronology | ○○○○○ | |
| Other: [specify] | ○○○○○ | |

## III. Dramatic Spine

THESIS STATEMENT: [If articulated explicitly in script, quote with line reference]

CONTROLLING IDEA: [1-2 sentence distillation of the script's core argument/meaning]

CENTRAL DRAMATIC QUESTION: [The question the audience carries through the narrative]

PROTAGONIST: [Identification + relationship to dramatic question]

ANTAGONIST: [Identification + relationship to dramatic question]

## IV. Movement/Act Breakdown

For each major structural division:

### [Movement/Act N]: [Title]

**Lines:** X-Y  
**Pages:** X-Y  
**Duration:** ~N% of script  

**Opening Image:** [description]

**Closing Image:** [description]

**Function:** [What this section accomplishes structurally]

**Internal Structure:**

[ASCII diagram of internal beats/sequences]

**Key Turning Points:**
| Beat | Line | Event | Function |
|------|------|-------|----------|
| [name] | [N] | [what happens] | [structural function] |

## V. Turning Points / Structural Nodes

Complete table of all major turning points:

| Node | Line/Page | Event | Structural Function |
|------|-----------|-------|---------------------|
| Hook | | | |
| Inciting Incident | | | |
| Lock-In / Point of No Return | | | |
| First Major Reversal | | | |
| Midpoint | | | |
| Second Major Reversal | | | |
| Dark Night / Crisis | | | |
| Climax | | | |
| Resolution | | | |

## VI. Intensity Mapping

INTENSITY
     ▲
     │                                                    [climax]
     │                                               ▓▓▓▓▓
     │                                          ▓▓▓▓▓     ▓▓▓▓
     │                                     ▓▓▓▓▓              ▓▓▓
     │                                ▓▓▓▓▓                      ▓▓
     │                           ▓▓▓▓▓                             ▓
     │                      ▓▓▓▓▓                                   ▓
     │                 ▓▓▓▓▓                                         ▓
     │            ▓▓▓▓▓                                               ▓
     │       ▓▓▓▓▓                                                     ▓
     │   ▓▓▓▓                                                           ▓
     │▓▓▓                                                                
     ├────────┬─────────────────┬──────────────────┬──────────────────────►
          I          II                III              TIME
     
     [MOVEMENT LABELS]

## VII. Proportional Analysis

| Section | Current % | Classical % | Assessment |
|---------|-----------|-------------|------------|
| Setup/Act I | | ~25% | |
| Confrontation/Act II | | ~50% | |
| Resolution/Act III | | ~25% | |

---

*Structural analysis complete*

---

3.4 CHARACTER ATLAS

# [TITLE] — Character Atlas

---

## I. Character Hierarchy

CHARACTER_HIERARCHY:

PROTAGONIST(S) └── [Character Name] └── [Character Name]

ANTAGONIST(S) └── [Character Name]

MAJOR SUPPORTING ├── [Character Name] ├── [Character Name] └── [Character Name]

MINOR SUPPORTING ├── [Character Name] └── [Character Name]

FUNCTIONAL / BACKGROUND └── [Listed without detail]

## II. Character Profiles

### [CHARACTER NAME]

**Role:** Protagonist / Antagonist / Supporting

**First Appearance:** Line/Page [N]

**Scene Count:** [N] scenes

**Arc Type:** 
- [ ] Transformational (internal change)
- [ ] Static (reveals rather than changes)
- [ ] Flat (functional only)

**Opening State:**
[Description of character at script open]

**Closing State:**
[Description of character at script close]

**Want vs. Need:**
- **Want (conscious goal):** [what they pursue]
- **Need (unconscious necessity):** [what they actually need]

**Transformation Summary:**

[OPENING STATE] → [CRISIS/CATALYST] → [CLOSING STATE]

**Key Scenes:**
| Scene | Line/Page | Function in Arc |
|-------|-----------|-----------------|
| [description] | [N] | [arc function] |

**Relationships:**
| Character | Relationship | Dynamic |
|-----------|--------------|---------|
| [name] | [type] | [how it evolves] |

**Diagnostic Questions:**
1. Does this character have a clearly defined want?
2. Does this character have a clearly defined need (distinct from want)?
3. Does the character make meaningful choices?
4. Does the character change (or meaningfully reveal)?
5. Is the character necessary to the narrative?

---

## III. Ensemble Dynamics

### Relationship Web

[ASCII diagram of character relationships]

### Power Dynamics Table

| Character | Power Position (Open) | Power Position (Close) | Shift |
|-----------|----------------------|------------------------|-------|
| [name] | High / Mid / Low | High / Mid / Low | ↑ ↓ — |

---

## IV. Character Statistics

| Metric | Value |
|--------|-------|
| Total named characters | [N] |
| Characters with arcs | [N] |
| Characters with dialogue | [N] |
| Female characters | [N] |
| Male characters | [N] |
| Other/unspecified | [N] |
| Protagonist scene presence | [N]% |

---

*Character atlas complete*

---

3.5 THEMATIC ARCHITECTURE

# [TITLE] — Thematic Architecture

---

## I. Thematic Layers

┌─────────────────────────────────────────────────────────────────────────────┐ │ THEMATIC LAYERS │ ├─────────────────────────────────────────────────────────────────────────────┤ │ │ │ LAYER 1: [PRIMARY THEME] │ │ ├── [Evidence point 1] │ │ ├── [Evidence point 2] │ │ └── [Evidence point 3] │ │ │ │ LAYER 2: [SECONDARY THEME] │ │ ├── [Evidence point 1] │ │ ├── [Evidence point 2] │ │ └── [Evidence point 3] │ │ │ │ LAYER 3: [TERTIARY THEME] │ │ └── [Evidence points] │ │ │ │ [Additional layers as warranted] │ │ │ └─────────────────────────────────────────────────────────────────────────────┘

## II. Controlling Idea Analysis

**Thesis (as statement):**
[Distilled 1-sentence argument of the script]

**Antithesis (as represented in script):**
[The counter-argument the script engages]

**Synthesis (resolution):**
[How the script resolves the dialectic, if at all]

## III. Motif Tracking

| Motif | First Instance | Recurrences | Function |
|-------|----------------|-------------|----------|
| [visual/verbal motif] | Line [N] | Lines [N, N, N] | [what it does] |

## IV. Symbol Glossary

| Symbol | Meaning(s) | Key Instances |
|--------|-----------|---------------|
| [symbol] | [interpretation] | Lines [N, N] |

## V. Thematic Articulation Points

Moments where theme is articulated directly (dialogue, image, action):

| Line/Page | Type | Content | Assessment |
|-----------|------|---------|------------|
| [N] | Dialogue / Image / Action | [quote or description] | Effective / Heavy-handed / Subtle |

---

*Thematic architecture complete*

---

3.6 DIAGNOSTIC REPORT

# [TITLE] — Diagnostic Report

---

## I. Structural Diagnostics

### Causal Binding Test

Apply the But/Therefore test to major beat transitions:

| Transition | Connector | Assessment |
|------------|-----------|------------|
| Beat 1 → Beat 2 | BUT / THEREFORE / AND THEN | ✓ Strong / ✗ Weak |

**Causal Binding Score:** [N]% of transitions are causally bound

### Narrative Momentum Assessment

| Question | Answer | Evidence |
|----------|--------|----------|
| Can beats be reordered without consequence? | Yes / No | [explanation] |
| Does each scene create new information? | Yes / No | [explanation] |
| Are there redundant scenes? | Yes / No | [list if yes] |

## II. Character Diagnostics

### Protagonist Validation

| Question | Answer |
|----------|--------|
| Is the protagonist the most active agent? | |
| Does the protagonist make choices that drive plot? | |
| Does the protagonist face escalating obstacles? | |
| Is the protagonist's transformation earned? | |

### Antagonist Validation

| Question | Answer |
|----------|--------|
| Does the antagonist provide genuine opposition? | |
| Does the antagonist have comprehensible motivation? | |
| Is the antagonist's pressure continuous? | |

## III. Attention Mechanics Diagnostics

From the Attention Mechanics meta-framework:

| Mechanism | Present | Assessment |
|-----------|---------|------------|
| Involuntary response triggers | Yes / No | [which type: comedy, horror, pathos] |
| Anticipation-satisfaction cycles | Yes / No | [where] |
| Prediction-failure-recalibration (jazz mode) | Yes / No | [where] |
| Causal binding | Strong / Moderate / Weak | |
| Density compensation | Adequate / Inadequate | |

## IV. Identified Issues

### Critical (Structural)

Issues that affect the narrative's fundamental coherence:

1. **[Issue Title]**
   - **Location:** Lines/Pages [N-N]
   - **Description:** [what's wrong]
   - **Impact:** [why it matters]
   - **Suggested Approach:** [how to address]

### Important (Character/Theme)

Issues that affect depth without breaking structure:

1. **[Issue Title]**
   - **Location:** [N-N]
   - **Description:** [what's wrong]
   - **Suggested Approach:** [how to address]

### Polish (Craft)

Line-level or scene-level refinements:

1. **[Issue Title]**
   - **Location:** [N]
   - **Note:** [observation]

## V. Proportional Issues

| Section | Current | Target | Action |
|---------|---------|--------|--------|
| [section] | [N] lines | [N] lines | Expand / Compress |

---

*Diagnostic report complete*

---

3.7 THEORETICAL CORRESPONDENCE

# [TITLE] — Theoretical Correspondence

---

## I. Framework Application

How this script relates to established narrative frameworks:

### Aristotelian Analysis

| Element | Poetics Requirement | Script Implementation | Assessment |
|---------|--------------------|-----------------------|------------|
| Mimesis | Action over character | | |
| Hamartia | Protagonist error | | |
| Peripeteia | Reversal | | |
| Anagnorisis | Recognition | | |
| Catharsis | Purgation | | |
| Unity of Action | Single through-line | | |

### McKee Framework

| Element | McKee Principle | Script Implementation |
|---------|----------------|-----------------------|
| Controlling Idea | Value + Cause | |
| Inciting Incident | Upset of balance | |
| Progressive Complications | Escalating obstacles | |
| Crisis | Dilemma forcing choice | |
| Climax | Irreversible action | |
| Resolution | New equilibrium | |

### South Park But/Therefore

**Causal Chain Diagram:**

[EVENT A] ↓ THEREFORE [EVENT B] ↓ BUT [EVENT C] ↓ THEREFORE [...]

### Additional Frameworks (as relevant)

- **Phoebe Waller-Bridge (Three Obstacles):** Is each scene operating on multiple obstacle layers?
- **Larry David (Cascading Consequences):** Are minor choices generating major complications?
- **Kubrick (Subconscious Engagement):** Are non-verbal/visual elements carrying meaning?
- **Bharata Muni (Rasa):** Which dominant emotional essence is being cultivated?

## II. Genre Contract

| Genre Element | Contract Expectation | Script Delivery | Assessment |
|---------------|---------------------|-----------------|------------|
| [convention 1] | [what audience expects] | [what script provides] | Met / Subverted / Violated |

---

*Theoretical correspondence complete*

---

3.8 REVISION ROADMAP

# [TITLE] — Revision Roadmap

---

## Priority Matrix

                    IMPACT
               Low         High
          ┌──────────┬──────────┐
     Low  │  IGNORE  │  POLISH  │
EFFORT    ├──────────┼──────────┤
     High │  DEFER   │ CRITICAL │
          └──────────┴──────────┘

## I. Critical Priority (High Impact / Address First)

Structural issues that must be resolved before production consideration:

| # | Issue | Location | Action | Effort |
|---|-------|----------|--------|--------|
| 1 | [issue] | [lines] | [specific action] | [estimated scope] |

## II. Important Priority (High Impact / Second Pass)

Character and theme issues that deepen the work:

| # | Issue | Location | Action |
|---|-------|----------|--------|
| 1 | [issue] | [lines] | [specific action] |

## III. Polish Priority (Refinement)

Line-level and craft improvements:

| # | Issue | Location | Action |
|---|-------|----------|--------|
| 1 | [issue] | [lines] | [specific action] |

## IV. Suggested Revision Sequence

1. **Pass 1 — Structure:** Address critical structural issues
2. **Pass 2 — Character:** Deepen arcs and relationships
3. **Pass 3 — Theme:** Strengthen thematic articulation
4. **Pass 4 — Dialogue:** Polish language and voice
5. **Pass 5 — Format:** Clean formatting, typos, continuity

## V. Questions for the Artist

Issues requiring creative decision rather than technical fix:

1. [Question about intention or direction]
2. [Question about interpretation]
3. [Question about scope]

---

*Revision roadmap complete*

---

4. Workflow Execution

4.1 Standard Workflow

ANALYSIS_WORKFLOW:

  STEP 1: INGESTION
  ├── Read complete script (no partial analysis)
  ├── Extract metadata
  └── Record first-reader responses
  
  STEP 2: BEAT MAPPING
  ├── Scene-by-scene annotation
  ├── Assign structural functions
  └── Apply causal binding connectors
  
  STEP 3: STRUCTURAL ANALYSIS
  ├── Identify act/movement breaks
  ├── Map turning points
  └── Generate structural diagrams
  
  STEP 4: CHARACTER ATLAS
  ├── Profile all named characters
  ├── Map relationships
  └── Track arcs
  
  STEP 5: THEMATIC ARCHITECTURE
  ├── Identify theme layers
  ├── Track motifs
  └── Note articulation points
  
  STEP 6: DIAGNOSTICS
  ├── Apply structural tests
  ├── Identify issues
  └── Categorize by severity
  
  STEP 7: THEORETICAL CORRESPONDENCE
  ├── Apply relevant frameworks
  └── Assess genre contract
  
  STEP 8: REVISION ROADMAP
  ├── Prioritize issues
  └── Sequence actions
  
  STEP 9: COVERAGE REPORT
  └── Synthesize into executive document

4.2 Delivery Options

Offer artist choice of delivery:

Option	Contents
Full Package	All 8 core documents
Executive	Coverage Report + Revision Roadmap only
Structural Focus	Beat Map + Structural Analysis + Diagnostics
Character Focus	Character Atlas + relevant diagnostics
Custom	Artist-specified selection

---

5. Quality Standards

5.1 Completeness Checklist

Before delivery, verify:

• Every scene/beat is mapped (no gaps)
• All named characters are profiled
• All turning points are identified
• Diagnostic questions are answered with evidence
• Issues include specific line/page references
• Revision items include actionable suggestions
• ASCII diagrams render correctly

5.2 Role-Tag Coverage

Ensure all analyst roles have contributed observations:

• [AESTHETE] — At least 3 observations
• [DRAMATURGIST] — At least 5 observations
• [NARRATOLOGIST] — Framework application complete
• [ART_HIST] — Historical context if relevant
• [CINEPHILE] — At least 3 comparable works
• [RHETORICIAN] — Dialogue assessment
• [PRODUCER] — Practical notes if requested
• [ACADEMIC] — Theoretical rigor maintained
• [FIRST-READER] — Honest engagement response

5.3 Terminology Standards

Use consistent terminology throughout:

Term	Definition
Beat	Smallest unit of dramatic action (single exchange of behavior)
Scene	Continuous action in single location/time
Sequence	Group of scenes forming a unit of rising action
Act	Major structural division
Movement	Alternative to "act" for non-classical structures
Turning Point	Moment of irreversible change
Node	Structural landmark (hook, inciting incident, etc.)

---

6. Integration Notes

6.1 Narratological Algorithm Integration

This skill draws on established narratological algorithms:

Algorithm	Application
McKee	Gap analysis, progressive complications
Aristotle	Unity, catharsis, recognition/reversal
South Park	But/Therefore causal test
Phoebe Waller-Bridge	Three-obstacle layering
Larry David	Cascading consequences
Attention Mechanics	Engagement diagnosis

6.2 Output Format

All documents should be delivered as markdown files with:

• ASCII diagrams for visual structures
• Tables for data-dense sections
• Code blocks for formulas and tests
• Consistent heading hierarchy

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Reference Files

• templates/coverage-template.md — Coverage report template
• templates/beat-map-template.md — Beat mapping template
• templates/structural-template.md — Structural analysis template
• templates/character-template.md — Character atlas template
• templates/diagnostic-template.md — Diagnostic report template

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Skill: script-analysis-dramaturgical v1.0