Screenwriters and Screenwriting

Chapter 1 Introduction

Chapter 2 White Space: An Approach to the Practice of Screenwriting as Poetry

Chapter 3 Narrating Voices in the Screenplay Text: How the Writer Can Direct the Reader’s Visualisations of the Potential Film

Chapter 4 Horror Screenwriting: Blending Theory with Practice

Chapter 5 Beyond the Screenplay: Memoir and Family Relations in Three Films by Gaylene Preston

Chapter 6 Costume as Character Arc: How Emotional Transformation is Written into the Dressed Body

Chapter 7 Developing the Screenplay: Stepping into the Unknown

Chapter 8 The Irish Film Board: Gatekeeper or Facilitator? The Experience of the Irish Screenwriter

Chapter 9 First Impressions: Debut Features by Irish Screenwriters

Chapter 11 Scripting the Real: Mike Leigh’s Practice as Antecedent to Contemporary Reality Television Texts The Only Way Is Essex and Made in Chelsea

Chapter 12 Based on a True Story: Negotiating Collaboration, Compromise and Authorship in the Script Development Process

Chapter 13 Sarah Phelps on Writing Television: Adaptation, Collaboration and the Screenwriter’s Voice

Chapter 14 Working the Writers’ Room: The Context, the Creative Space and the Collaborations of Danish Television Series Borgen

Chapter 15 And the Screenwriter Created Man: Male Characterisation in Bromance and Bromedy

Chapter 16 Gals Who Make the Jokes: Feature Film Screenwriting for the Satirical Female Voice

Chapter 17 Self-Reflexive Screenwriting and LGBT Identity: Framing and Indirectly Reading the Self