Introduction

Abstract

We have experienced what we might call a ‘screenwriting turn’ in the last five or so years. By this I mean that in the fields of screen and cultural studies, we have begun to both understand and appreciate the role of the screenwriter much more than we have in the past. We are finally, and thankfully, moving beyond a director-centric critical appraisal of screen texts, and are beginning to truly acknowledge the importance played by creators, writers, showrunners, storyliners and script editors in the conception, development and execution of film and television drama. This is in part related to the work of the Screenwriting Research Network, whose annual conferences and Journal of Screenwriting have shed significant light on the world of screenwriting. It is also in part related to the fact that screenwriting has become a growth area across colleges, universities and film schools around the world, where not only are students demanding content relevant to them, but where those teaching are becoming increasingly interested in research, keen to understand screenwriting practice within an academic context.