Before shots can even be diagrammed, the tone or style of the film must be discussed. There might be a specific mood the director wants to set and the DP needs to know this information in order to film it that way.
Once the mood/style is set, get the script out and separate each line of dialogue or chunk of action, since each needs to be treated like a separate entity.
Decide which areas only need standard coverage. By standard coverage I am referring to the simple setup of Wide Shot-Over the Shoulders-Close Ups. These may be perfect for simple scenes of dialogue going back and forth.
From the standard coverage, find the more emotional lines or actions and discuss whether or not to institute a slow move in as opposed to a static close-up.
Once the standard shots are out of the way, the more difficult camera swoops, pans and tilts come into play.
Not every scene needs a specialty shot, but the director and DP need to diagram exactly how the story will unfold on screen through text, not drawings, as that comes a bit later in the storyboarding period.
Once all standard and specialty shots are written down, create a shooting script that breaks down each line/action into a setup and list all the shots for each setup.