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.
表中的内容
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 Cacería, las niñas 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 Sharp’s
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: Don’t 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.
关于作者
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.
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