The Palgrave Handbook of Script Development provides the first comprehensive overview of international script development practices. Across 40 unique chapters, readers are guided through the key challenges, roles and cultures of script development, from the perspectives of creators of original works, those in consultative roles and those giving broader contextual case studies. The authors take us inside the writers room, alongside the script editor, between development conversations, and outside the mainstream and into the experimental. With authors spanning upwards of 15 countries, and occupying an array of roles including writer, script editor, producer, script consultant, executive, teacher and scholar, this is a truly international perspective on how script development functions (or otherwise) across media and platforms. Comprising four parts, the handbook guides readers behind the scenes of script development, exploring unique contexts, alternative approaches, specific production cultures and global contexts, drawing on interviews, archives, policy, case study research and the insider track. With its broad approach to a specialised practice, the Palgrave Handbook of Script Development is for anyone who practices, teaches or studies screenwriting and screen production.
Part 1: Behind the scenes of script development.
Chapter 1: The
Feedback Phenomenon: dealing with multiple voices in the development of
original screenplays.
Chapter 2: Script Readers as Gatekeepers: demystifying
processes of script coverage.
Chapter 3: A Creative Pilgrimage: negotiating
Authenticity, Creativity and Budget in the medieval web series Tales of
Bacon.
Chapter 4: Creating the Low Budget Feature Film Script: development
as emergence.
Chapter 5: Script Development on Unscripted Television: Grand
Designs and the spectacle of the reveal.
Chapter 6: Saying What Must Not Be
Said: exploring communication in the script development process.
Chapter 7:
Scripting Creative Documentary Film: developing the Script for Not
Reconciled.
Chapter 8: Negotiating Television Authorship and Gendering
Creative Identity: Vicki Madden as Australian showrunner.
Chapter 9:
Constructing Criticism without Crushing Confidence: cultures of feedback in
television script development.
Chapter 10: The Business of Script
Development: insights from industry practitioners.- Part 2: Script
Development in Time and Place.
Chapter 11: Doctoring La Cacerķa, las nińas
de Alto Hospicio: issues in cross-cultural script consulting.
Chapter 12:
Script development as a collective enterprise: the writing of the indigenous
feature film Waru.
Chapter 13: Independent, Short and Controversial: the
script development of San Sabba.
Chapter 14: How Angelica Became The Strange
Case of Angelica: from the idea to the script to the book to the film.-
Chapter 15: Scripting for the Masses: notes on the political economy of
Bollywood.
Chapter 16: Respectful Partnerships/Cultural Integrity: applying
ethical protocols to the scripting of No Longer a Wandering Spirit.
Chapter
17: Writers Room and Showrunner: discourses and practices in the German TV
industry.
Chapter 18: The ASEAN ROK RICE LAB: voices across Asia, stories
about rice.
Chapter 19: 1 + 1 = 3: Danish collaborative practice in screen
idea and story development.
Chapter 20: Scottish Modernism Goes to New
Hollywood: tracing the script development of Alan Sharps Night Moves.- Part
3: Alternative Approaches.
Chapter 21: Creating Kaleidoscopic Characters:
working with performance to develop character stories prior to the screen
story.
Chapter 22: Lean Script Development in the Available Materials School
of Filmmaking: this is dedicated to The One I Love.
Chapter 23: Pedagogy-Led
Practice and Practice-Led Pedagogy: a feedback loop of teaching and
screenwriting.
Chapter 24: A Comparative Study of the Novel O Quatrilho and
its Adapted Screenplays: researching the script development process.
Chapter
25: Scripting and the Multimodal Screenplay within the Script Development
Process.
Chapter 26: Dont eat my baby: collisions, development and
Indigenous consultation in the Australian family feature film screenplay,
Dingo.
Chapter 27: The Application of an Eternal Dance Methodology in the
Development of an Original Screenplay.
Chapter 28: A Collaborative
Reflection Between Writer, Director and Actors: table reading as
scriptwriting intervention.
Chapter 29: Hitting the Road: performing the
journey as a development strategy in Paris, Texas and Goodbye Pork Pie.-
Chapter 30: Development Across the Intercultural Divide: scripting stories
with other groups.- Part 4: Unique Contexts of Script Development.
Chapter
31: Productive Interventions: collaborative script development for stories
about mental health issues and suicide.
Chapter 32: Place, presence and
play: A listening, co-active approach to story development.
Chapter 33:
Crafting immersive experiences: a case study of the development of three
short narrative cinematic virtual reality (CVR) projects.
Chapter 34: Script
Development as Communicative Process: the case of Notorious.
Chapter 35:
Between video games and televisionshows, towards meta script development
practices?.
Chapter 36: Developing Texts for Animated Opera: a unique case
study.
Chapter 37: From Comedy to Drama: the curious case study of
Queenpin.
Chapter 38: You never know who is in control: German transmedia
content development.
Chapter 39: Violet City: script development from novel
to green screen fantasy feature.
Chapter 40: Checking The Black List Twice:
the ambiguous industry role of script development services.
Stayci Taylor is a Lecturer in Media at RMIT University, Australia. She is an award-winning screenwriter and researcher, published widely on screenwriting, web series and creative writing.
Craig Batty is Dean of Research (Creative) at the University of South Australia. He is an award-winning educator and researcher in the field of screenwriting, and is also a writer, script editor and script consultant.
