Professor Craig Batty is an award-winning educator, researcher and supervisor in the areas of screenwriting, creative writing and screen production. He is also an expert in creative practice research methodologies.
He has published over 70 books, book chapters, journal articles and creative practice research works, as well as many industry articles, book reviews and interviews. He has also guest edited 10 journal special issues. Craig has also worked on a variety of screen projects as a writer and script editor.
Craig is currently Head of Discipline, Creative Writing, in the School of Communication, where he oversees teaching and learning, research and engagement.
Craig is currently Chair of the Australian Screen Production Education and Research Association (ASPERA) Research Sub-Committee, and leads the research portfolio for the Australasian Association of Writing Programs (AAWP). He is co-editor of the Journal of Screenwriting, and is on the editorial boards of Media Practice and Eduation, the International Journal for Creative Media Research, and the Journal of Writing in Creative Practice.
Craig also holds adjunct professorial and research fellow roles at Bournemouth University, Central Queensland University and the University of Southern Queensland.
Can supervise: YES
Craig is interested in all areas of screenwriting – practice, theory, pedagogy – as well as the broader sphere of creative practice research, including doctoral education. He can offer expertise and consultancy in screenwriting craft, screenwriting pedagogy, creativity, narrative and storytelling, media writing, creative practice research and PhD supervision.
He is author, co-author and editor of 11 books that span the academy and industry. These include: Screen Production Research: Creative Practice as a Mode of Enquiry (Palgrave Macmillan, 2018); Screenwriters and Screenwriting: Putting Practice into Context (Palgrave Macmillan, 2014); Screenplays: How to Write and Sell Them (Kamera Books, 2012); The Creative Screenwriter: Exercises to Expand Your Craft (Methuen, 2012); Movies That Move Us: Screenwriting and the Power of the Protagonist's Journey (Palgrave Macmillan, 2011); Media Writing: A Practical Introduction (Palgrave Macmillan, 2010; 2016); and Writing for the Screen: Creative and Critical Approaches (2008; 2019).
Craig has also written many articles on screenwriting, media writing and creative practice research for publications such as the Journal of Screenwriting, Journal of Media Practice, New Writing: The International Journal for the Practice and Theory of Creative Writing, Studies in Australasian Cinema, Journal of Writing in Creative Practice, Media Education Research Journal, Writing in Education and ScriptWriter Magazine.
Craig is able to supervise Masters and PhD projects in creative writing, screenwriting and screen production, as well as in other disciplines where a creative practice methodology is employed.
In 2016, Craig won an Australian Awards for University Teaching (AAUT) Citation for PhD supervision, acknowledging a peer-to-peer pedagogy he developed and led for 5 years with creative writing PhD candidates. He also won teaching and supervision awards related to this at RMIT in 2014 and 2016, and in 2017 Craig won the RMIT Vice-Chancellor's Award for Research Supervision Excellence.
Kerrigan, S & Batty, C 2018, Screen Production Research: Creative Practice as a Mode of Enquiry, Springer.
Batty, C & Cain, S 2016, Media Writing: A Practical Introduction (second edition), Palgrave Macmillan.
Batty, C 2014, Screenwriters and Screenwriting: Putting Practice into Context, Springer.
Batty, C & Jacey, H 2014, Writing and Selling Romantic Comedy Screenplays, Oldcastle Books.
Waldeback, Z & Batty, C 2012, The Creative Screenwriter: Exercises to Expand your Craft, A&C Black.
Batty, C 2012, Screenplays: How to Write and Sell Them, Oldcastle Books.
Batty, C 2011, Movies That Move Us: Screenwriting and the Power of the Protagonist's Journey, Palgrave Macmillan.
Batty, C & Cain, S 2010, Media Writing: A Practical Introduction, Macmillan International Higher Education.
Batty, C & Waldeback, Z 2008, Writing for the Screen: Creative and Critical Approaches, Macmillan International Higher Education.
© 2018, © 2018 Informa UK Limited, trading as Taylor & Francis Group. Comedy writers use their practice to raise questions and create awareness about social, political and cultural issues, but can these practitioners be considered academics? With creative modalities of enquiry now commonplace in universities–where research is used to shape one's practice, resulting in creative work that embodies that research–when does comedy writing start to take on a different function? In this article, we discuss comedy screenwriting in an academic setting, arguing that it has potential as a rigorous mode of research that can sit happily alongside art, design, creative writing and media practice. Much has been written about creative practice research, yet not so much has been written about the form this type of research takes; specifically, why one might choose comedy to express, embody or otherwise perform the findings of research. Here, then, we draw on our experiences of undertaking screenwriting projects using comedy to discuss the ways in which researchers might use the comic mode to present their findings in imaginative, innovative and fun ways that can expand understanding and, potentially, garner impact.
Batty, C, Berkeley, L & Glisovic, S 2018, 'A Morning Coffee in Melbourne: Discussing the Contentious Spaces of Media Practice Research', Media Practice and Education, vol. 19, pp. 8-17.View/Download from: UTS OPUS or Publisher's site
In this article the authors discuss the role of fiction in screenwriting practice research. The screenplays included in the 'Screenplays as Research Artefacts' special issue of TEXT present a range of stories, worlds, characters, visual scenarios and dialogue exchanges that function as vessels for theories and ideas. These eleven screenplays all use creative practice approaches to research across a wide variety of discourses. All of the works embrace fiction as an important method to convey their respective critical concerns, which, the authors argue, evidences an emerging hallmark of screenwriting (as) research when compared with associated forms in the creative writing and screen production disciplines: fiction as a staple of its storytelling, creative practice and research methodology. The authors suggest that the use of fiction to perform research and present findings illuminates the ways that knowledge can be affective, not merely textual or verbal, something that is exemplified in the selected screenplays.
Batty, C & Baker, D 2018, 'The role of fiction in screenwriting (as) research', TEXT: Journal of Writing and Writing Courses, pp. 1-10.
Batty, C, O Meara, R, Taylor, S, Joyce, H, Burne, P, Maloney, N, Poole, M & Tofler, M 2018, 'Script development as a 'wicked problem'', Journal of Screenwriting, vol. 9, pp. 153-174.View/Download from: UTS OPUS
Batty, C, Berry, M & Frankham, B 2018, 'Exploring a new era of screen production research: laying foundations for engagement and impact', Studies in Australasian Cinema, vol. 12, no. 2-3, pp. 162-178.View/Download from: UTS OPUS or Publisher's site
© 2018, © 2018 Informa UK Limited, trading as Taylor & Francis Group. Writing from the perspective of the peak body for screen production education and research in Australia, ASPERA, the authors report on a research symposium held in 2017 that brought together the academy and industry to explore strategies for what the engagement and impact agenda might mean for the ASPERA community. In this context they explore what engagement looks like and how it can be structured as a pathway to impact; the implications and mechanisms for measuring impact in a variety of contexts; and the possible ramifications of the engagement and impact agenda on how ASPERA practitioner-researchers do their work. A set of complex and competing perspectives are presented that, while on the one hand provide principles and models for best practice, on the other hand question and problematise this new era of research.
Batty, C, Taylor, S, Sawtell, L & Conor, B 2017, 'Script development: Defining the field', Journal of Screenwriting, vol. 8, pp. 225-247.
Tofler, M & Batty, C 2017, 'Not just for laughs: the role of the pilot in commissioning Australian television comedy series', Comedy Studies, vol. 8, pp. 81-92.
Batty, C, Beaton, K, Sculley, S & Taylor, S 2017, 'The screenwriting PhD: creative practice, critical theory and contributing to knowledge', TEXT: Journal of Writing and Writing Courses, pp. 1-17.
Batty, C & Holbrook, A 2017, 'Contributing to knowledge in creative writing research: what, where, how?'.
Batty, C & Brien, DL 2017, 'The exegesis now: where are we, and where are we going?'.
Sempert, M, Sawtell, L, Murray, P, Langley, S & Batty, C 2017, 'Methodologically speaking: innovative approaches to knowledge and text in creative writing research', New Writing, vol. 14, pp. 205-222.
Glisovic, S, Berkeley, L & Batty, C 2016, 'The problem of peer review in screen production: Exploring issues and proposing solutions', Studies in Australasian Cinema, vol. 10, no. 1, pp. 5-19.View/Download from: Publisher's site
© 2016 Taylor & Francis. With traditional academic work, the process of peer review is seemingly clear - work is refereed as a way of gatekeeping ideas and research contributions, to ensure it is not publicly available until it has passed a test of rigour, originality, clarity and significance to the field. Those with assumed knowledge of the discipline are the said gatekeepers, tasked with assessing the work on the basis of disciplinary knowledge and general research expertise. This often rests on the notion that the research and knowledge are made explicit in the writing. This is problematic for non-traditional academic work, such as screen production and media art, because a key value in this kind of work is the ability to communicate implicitly and differently from what can be articulated within the parameters of written, academic language. This tension between implicit and explicit knowledge claims has been one source of difficulty for evaluating and therefore rewarding creative practice research. In this paper, we draw on a recent gathering of screen production academics, the two-day Sightlines: Filmmaking in the academy festival and conference, to help us discuss the complexities of peer reviewing screen production works for the academy, and to help us point towards possible solutions. We focus specifically on where and in what form the articulation of research might happen to assist the peer reviewing process, where the common approach is to write a research statement that makes explicit the methodologies undertaken and the new knowledge being claimed. This has incited some protest from within the screen production community: for example, how do we account with language for the very thing that is in excess of language, the contribution that finds its unique place outside of language and within the moving image? We therefore also discuss the dialogic relationship between art and writing, and the kinds of relationality that might be created to help make r...
Batty, C 2016, 'Collaboration, critique and a community of peers: The benefits of peer learning groups for screen production research degrees', Studies in Australasian Cinema, vol. 10, no. 1, pp. 65-78.View/Download from: Publisher's site
© 2016 Taylor & Francis. In response to both my own desire for professional development and candidates' desires for more support, in 2012 I began to coordinate a peer-to-peer learning group for creative writing research degree students at RMIT University. Still going strong over three years later, the group brings together creative practice higher degree by research (HDR) candidates working in areas such as prose fiction and nonfiction, screenwriting, poetry and digital narratives. In the context of existing literature on peer-to-peer learning in the HDR space, the group is somewhat unique in that a range of academics from across the host School of Media and Communication supervise the group's members, rather than them all being my own candidates. My role in the group is that of a facilitator, guiding an activity that complements rather than replaces the more traditional supervisor-candidate model of supervision. In this way, the group seeks to re-distribute and enhance the experience of HDR candidates, adding value to their experience of research training through opportunities to collaborate and critique, and through high levels of encouragement from their peers, to present and publish their work, and to work towards a more timely completion. This article draws on the author's experiences of facilitating such a group to discuss the benefits of peer-to-peer learning for creative practice research degrees broadly, and for screen production research degrees specifically. Exploring areas such as collaboration, critique and the building of a community of peers, the article outlines a range of strengths and weaknesses in leading a peer-to-peer learning group at this level. By drawing on the group's activities and reflections from some of its members, the article also seeks to provide guidance to supervisors and candidates working on screen production research degrees who are looking for ways to enhance how they offer and experience research training.
© 2016 Informa UK Limited, trading as Taylor & Francis Group. Supervising PhD candidates is a story in itself. Like a novel or screenplay, there are protagonists and antagonists, emotional transformations, dramatic twists and turns, and nearly always rising tension – especially in the domain of creative practice, where methodologies and research artefacts are still debated and contested. Voiceover narration comes into play, too, from both the candidate ('Does my supervisor know what I'm trying to do?') and the supervisor ('Does my candidate really think this is research?'). And hopefully there is always a happy ending – or at least happy subject to minor revisions. There is a growing body of literature about PhD supervision. Here we seek to expand on this work by drawing specific attention to the supervision of the Creative Writing PhD in the contemporary academy in the Australian and British contexts, and in a form that befits this vibrant research discipline. In this paper, then, we make connections between theory and practice by presenting a series of fictionalised vignettes drawn from our collective experiences of supervising candidates. By being playful ourselves, we offer a creative-critical exploration of the creative practice research space that illuminates some of the challenges and opportunities for supervising in the discipline.
Kerrigan, S & Batty, C 2016, 'Re-conceptualising screenwriting for the academy: The social, cultural and creative practice of developing a screenplay', New Writing, vol. 13, no. 1, pp. 130-144.View/Download from: Publisher's site
© 2016 Taylor & Francis. In the last decade screenwriting as a profession has changed significantly, with the writing of a screen idea no longer a singular individual pursuit. Screenwriting has become a truly collaborative practice, and even though the screenplay is considered by some as being 'authorless' or a 'signpost not a destination', it is also an activity that inherently recognises writers as the creators of novel and original content. This re-examination of screenwriting situates the practice inside the academy as a place where future practitioners can understand the industry they aspire to work in, and the contexts within which it operates. To this end, the screenwriter steeped in the traditions of creative writing can become more creatively responsive to the industrial and economic factors driving the processes of screen production. By re-conceptualising the screenwriter as a creative and conditioned agent who plays a specific part in the realities of the contemporary screen industry, we can better prepare students for professional practice scenarios that will enable them to make creative contributions that shape and change the industry.
© 2016 Taylor & Francis. The important roles played by screen creators, writers, showrunners, storyliners and script editors are increasingly acknowledged and celebrated by the academy. However, most current screenwriting research is about historical contexts, theoretical readings and ethnographic studies, rather than screenwriting practice. Such research has the potential to speak to practitioners, but it falls short of really connecting with those for whom screenwriting is a practice. The 'how to' books written by 'guru' authors are usually of more value to screenwriters, yet they sit uncomfortably in the academy and are seldom considered as research. As both an academic and a screenwriting author, I understand that critical texts serve a different purpose to those driven by craft, yet I also have a desire to be relevant to and have impact on creative practice. In this article I discuss how we might expand our understanding of 'screenwriting studies' to foreground concerns of practice. Screenwriting is an activity, not an end product, and I argue that we should both understand and offer insights for practicing the discipline. I draw on my own experiences to outline approaches I have used to frame my work as research that contributes knowledge and practice-based insights to the academy and beyond.
Taylor, S & Batty, C 2016, 'Script development and the hidden practices of screenwriting: Perspectives from industry professionals', New Writing, vol. 13, no. 2, pp. 204-217.View/Download from: Publisher's site
© 2015 Informa UK Limited, trading as Taylor & Francis Group. This article contributes to the emerging body of research on screenwriting practice by drawing together perspectives from industry that reveal an often hidden aspect of the creation of a screen work – script development. Using the same set of interviews that informed a previous work, this article mines those same discussions for insights relating specifically to what is to date a largely unexplored element of screenwriting practice. The perspectives we draw together – from our pool of screenwriters, script editors, script executives and script consultants – serve to both highlight the ambiguity that troubles the term 'script development', and also contribute to wider research seeking to define both the concept and the practice for screenwriting scholars and practitioners from an industry outlook. It has been 10 years (at the time of writing) since Peter Bloore wrote of his research that, 'none of the books available about the film industry and scriptwriting really covered the reality of development [and none] really dealt with the development process as I knew it'. His book is still one of only a few attempts to address this gap in screenwriting research, and so by focussing specifically on the people who experience it, the intention of this article is to try and articulate how we might better understand extant practices of script development.
Batty, C, Sawtell, L & Taylor, S 2016, 'Thinking through the screenplay: The academy as a site for research-based script development', Journal of Writing in Creative Practice, vol. 9, pp. 149-162.
Vine, J, Batty, C & Muir, R 2016, 'A question of ethics: the challenges for journalism practice as a mode of research', Journal of Media Practice, vol. 17, pp. 232-249.
Batty, C & McAulay, A 2016, 'The academic screenplay: Approaching screenwriting as a research practice', Writing in Practice: The Journal of Creative Writing Research, vol. 2, pp. 1-13.
Batty, C & Berry, M 2015, 'Constellations and connections: The playful space of the creative practice research degree', Journal of Media Practice, vol. 16, no. 3, pp. 181-194.View/Download from: Publisher's site
© 2016 Taylor & Francis. The academic space for creative practice research is dynamic and 'is always in the process of being made. It is never finished: never closed' [Massey, D. 2005. For Space. London: Sage, 9]. It is a research space filled with constellations of onnections, which serves as a vital incubator for risk taking, reflexivity and fearless critical thinking. Higher degree by research candidates working in this space move fluidly between thinking and making, allowing their creative practice to become informed and innovative. They draw on a community of practice – of thinkers and makers – to make connections that form constellations in order to extend and expand what they would usually do. Their practice thus becomes their methodology in an environment that is responsive to new concepts and customs. Supervising research degree candidates involves being there with them in that messy space. When candidates try to organise ideas and practices into neat boxes, and those boxes leak, supervisors play an important role in making sure the content does not collapse. Often creative practice researchers themselves, supervisors are both the guardians of academic standards and the ones who dare candidates to 'go there'. The result is the creation of a dynamic space for play, where boundaries can be pushed. In this paper we present a series of ideas about and reflective experiences of supervising creative practice research degree candidates, namely in the disciplines of screen and media production, and creative writing. We discuss the nature of the creative practice research space – philosophically, metaphorically and practically – and we discuss the role of the supervisor in creating and navigating this space. We end by reflecting on and how this type of space is not only important for creative practice research, but is also a vital component of the contemporary academy.
Batty, C 2015, 'A screenwriter's journey into theme, and how creative writing research might help us to define screen production research', Studies in Australasian Cinema, vol. 9, no. 2, pp. 110-121.View/Download from: Publisher's site
© 2015 Taylor & Francis. Although critical works relevant to screen production research exist, they are often fragmented (screen production placed alongside general media production) and, I want to suggest, not brave enough to embrace the term screen production research. With 'dirty' connotations to an industry some see far removed from the academy, screen production research has not yet been able to justify its existence, unlike, for example, the discipline of creative writing, which has achieved a lot in regard to its research agenda and footprint. This article thus proposes definitions and examples from which we might build the foundations for a better understanding of screen production research and its future potential in the academy. This will be achieved by offering a critical and reflective discussion of how theme can be used as a creative and collaborative tool for use in the development of a screenplay. By doing this, the article seeks not to theorise practice per se, but rather to intellectualise it for the benefit of practitioner-academics with interests in screen production research specifically, and creative practice research more broadly. As an important aspect of screen production, screenwriting is a useful lens through which to consider this type of research, partly because of how it is often positioned between creative writing and screen production. For example, the practice of screenwriting might be understood as creative writing, and the development of a screenplay might be understood as screen production. Similarly, the processes undertaken by the screenwriter might be understood in relation to other types of creative writer, and the role played by the screenwriter might be understood in relation to the role played by the producer or director. Furthermore, because the discipline of creative writing has a highly developed understanding of creative practice research, discussing the 'sub-discipline' of screenwriting allows us to draw from its r...
Redmond, S & Batty, C 2015, 'Seeing into things: eye tracking the moving image', Refractory: a journal of entertainment media, vol. 25, pp. 1-1.
Batty, C, Perkins, C & Sita, JC 2015, 'How we came to eye tracking animation: A cross-disciplinary approach to researching the moving image'.
Baker, D, Batty, C, Beattie, D & Davis, S 2015, 'Scriptwriting as a research practice: expanding the field', TEXT: Journal of writing and writing courses.
Batty, C & Taylor, S 2015, 'Interrogating writing practices: perspectives from the screenwriting industry', Writing in Practice: The Journal of Creative Writing Research, vol. 1.
Batty, C & Sinclair, J 2014, 'Peer-to-peer learning in the higher degree by research context: A creative writing case study', New Writing, vol. 11, no. 3, pp. 335-346.View/Download from: Publisher's site
© 2014 Taylor and Francis. Peer-to-peer learning is nowadays firmly embedded in the undergraduate teaching context, understood as a way of enhancing the experience of both students (encouraging collaborative learning and building independent skills, for example) and staff (offering flexible teaching methods and a means of implementing innovative assessment, for example). Despite Boud and Lee's argument that peer-to-peer learning is a particularly relevant kind of pedagogy in the context of the Higher Degree by Research (HDR), its potential as a model of practice for candidates and supervisors remains relatively unexplored. In most universities around the world, the traditional candidate-supervisor model remains the most common method of supervision. The question we still need to ask, then, is: What might peer-to-peer learning bring to the HDR field, for both the candidate and their supervisor? In 2012, Australia's RMIT University piloted HDR peer-to-peer learning groups in three discipline areas across its three Colleges, to explore their usefulness and effectiveness in enhancing both the candidate's engagement and learning and the supervisor's practice. This paper discusses one of these groups, in the discipline area of Creative Writing, and focuses in particular on the benefits offered to the supervisor/facilitator in leading this type of activity. By exploring areas such as logistical practices, peer reviewing and critique, benchmarking skills and capabilities, and the collective experience, we will detail both the experiences and the dynamics of the group, from the supervisor/facilitator's perspective. We will draw on examples from the group's activities, and argue that supplementing conventional one-on-one supervision practices with peer-to-peer learning can enhance candidates' learning, and can be instructive and empowering for both candidates and the facilitator/supervisor.
Batty, C 2014, ''Show Me Your Slugune and I'll Let You Have the Firstlook': Some Thoughts on Today's Digital Screenwriting Tools and Aprs', Media International Australia, vol. 153, pp. 118-127.
Batty, C 2013, 'Unpacking critical theories to enhance creative practice: a PhD in screenwriting case study', Media Education Research Journal (MERJ), vol. 4, pp. 12-26.
Batty, C, Jawando, D & Howley, B 2012, 'Making It', Spring, no. 56.
Batty, C 2010, 'The physical and emotional threads of the archetypal hero's journey: proposing common terminology and re-examining the narrative model', Journal of Screenwriting, vol. 1, pp. 291-308.
Batty, C & Baker, DJ 2018, 'Screenwriting as a Mode of Research, and the Screenplay as a Research Artefact' in Screen Production Research, Palgrave Macmillan US, USA, pp. 67-83.View/Download from: UTS OPUS or Publisher's site
Batty, C & Taylor, S 2018, 'Digital Development: Using the Smartphone to Enhance Screenwriting Practice' in Mobile Story Making in an Age of Smartphones, Springer, The Netherlands, pp. 21-29.View/Download from: UTS OPUS or Publisher's site
In his chapter 'Smartphone Screenwriting: Creativity, Technology, and Screenplays-on-the-Go', Craig Batty argued that while technological advances might seemingly be breeding new types of screenwriting practice via apps and digital tools, in fact they are almost exclusively responding to market demands and facilitating existing, rather than inspiring new, practices: 'every tool and app is still reliant on what the screenwriter brings to it' (2014a: 113). The question still remaining is: if technology can determine the type, style and form of screen media being produced (e.g., smartphone filmmaking, the web series), can it also influence the ways these works are written, beyond replicating what happens in the analogue world? How might the capabilities of mobile media shape and enhance the story making practices of a screenwriter?
In this chapter we focus on the specific practice of script development, to examine how the screenwriter's methods for creating content could be made different by the smartphone. Tracing the journey of a 'screen idea' (Macdonald, 2013) from concept to screenplay, which can comprise many documents, notes, drafts and personnel that each position the screenplay in various creative, personal and social contexts (see Conor, 2013; Kerrigan and Batty, 2016), script development offers a useful lens through which to examine the screenwriting practitioner's creative process in relation to digital media devices and their potential for change. Specifically, we ask: do smartphones and other portable devices enhance or inhibit practices of script development? Do they do anything beyond offer digital versions of what happens in the analogue world; and if not, what might a digital script development tool look like
Batty, C & Wilf, H 2017, 'Look who's talking: Using transactional analysis in the writing of effective screenplay dialogue', John Benjamins Publishing Company.
Batty, C 2016, 'You are what you eat: Film narratives and the transformational function of food' in Food, Media and Contemporary Culture: The Edible Image, pp. 27-43.View/Download from: Publisher's site
Batty, C, Dyer, A, Perkins, C & Sita, J 2016, 'Seeing Animated Worlds', Bloomsbury Publishing USA, pp. 165-165.
Batty, C 2016, 'You Are What You Eat: Film Narratives and the Transformational Function of Food' in Food, Media and Contemporary Culture: The Edible Image, pp. 27-43.View/Download from: Publisher's site
Batty, C, Holloway, S & James, G 2015, 'Questions and Answers: Responding to Creative Writing teaching and Learning', Multilingual Matters, pp. 87-87.
Batty, C 2014, 'Smartphone screenwriting: Creativity, technology, and screenplays-on-the-go' in Mobile Media Making in an Age of Smartphones, Springer, pp. 104-114.
Batty, C 2014, 'Me and you and everyone we know: The centrality of character in understanding media texts', pp. 35-56.
Batty, C 2014, 'Costume as character arc: How emotional transformation is written into the dressed body' in Screenwriters and Screenwriting, Springer, pp. 80-94.
What screenwriting can really do is teach all writers about the fundamentals of storytelling: character, structure, world, theme, dialogue, visuality, etc. This chapter covers some of the most important areas of the craft and business of screenwriting, and not only that, different and less written-about areas; or areas that are written about. A common perception is that a screenplay is merely a working document: an artifact that will be turned into something else entirely, such as a film, TV drama, or webisode. When thinking of ideas for screenplays, it is useful to look both outside and inside ourselves; to consider what is happening around us, and what is happening within us. Screenplays with weak characters are films that do not work. © 2013 John Wiley & Sons, Ltd.
Batty, C 2016, 'The special place of fiction in creative practice research: a screenwriting approach', Screen Production Research: The Big Questions–Refereed Proceedings of the Australian Screen Production Education and Research Association Annual Conference, pp. 1-11.
Batty, C, Lee, S, Sawtell, L, Sculley, S & Taylor, S 2015, 'Rewriting, remaking and rediscovering screenwriting practice: When the screenwriter becomes practitioner-researcher', AAWP 2015, Australasian Association of Writing Programs, pp. 1-14.
Batty, C 2013, 'Creative interventions in screenwriting: Embracing theme to unify and improve the collaborative development process', The 18th Conference Of The Australasian Association Of Writing Programs, Australasian Association of Writing Programs, pp. 1-12.
Batty, C 2007, ''Trust Me, I'm a Screenwriter!'Exploring Problems of Narrative Structure and Closure in Contemporary Film's Portrayal of'The Real'', The Documentary Tradition, Center for the Study of Film and History, pp. 1-12.
A university professor with a reputation for creative practice research finds himself at a
crossroads when, en route to an international conference, he meets a younger and
somewhat modest dementia researcher whose work is clearly having an impact on
people's lives. A keynote at a creative writing conference in Hawaii, the professor is
impelled to reflect on his own research practice and piece together fragments of his work
history to reassure himself that what he does is not only valid as research, but also that it
has rigour. With flashbacks to a variety of painful and often comic encounters with
colleagues trying to articulate their practice as research, he is able to overcome his midflight, mid-career crisis and come to a renewed and satisfactory understanding of what
good creative practice research is, and how that can be articulated clearly and confidently
to others. Originally performed at the University of Southern Queensland's inaugural
'Scriptwriting as Research' symposium in 2016, A Vacuous Screenplay in Search of
Rigour thus interrogates not only the very mode of creative practice research, but also the
broader (and varied) institutional research cultures within which it operates.
Batty, C 2015, 'The (im) perfect screenplay: A parody of craft and industry', pp. 1-18.
Batty, C 2015, 'Dirty talk: Scriptwriting, script editing and the creative process', pp. 1-17.
Batty, C 2013, 'Frankie goes to Hollywood: A screenplay', pp. 1-35.
Batty, C 2007, 'Tom, Dick and Harry: A Screenplay', Taylor & Francis, pp. 97-107.
Batty, C & Glisovic, S Australian Screen Production Education and Research Association 2017, Screen Production Research Reporting: An ASPERA Scoping Report, pp. 1-28, Sydney, Australia.
Batty, C & Kerrigan, S 2016, 'Writing with/on/for the screen', Intellect, pp. 3-6.
Baker, DJ, Batty, C, Beattie, D & Davis, S 2015, 'Scriptwriting as Creative Writing Research II, Whole Issue'.
Barbour, C 2010, 'Script coordinator/Staff writer Christopher Barbour with Craig Batty in LA', Interview.
Batty, C 2009, 'When what you want is not what you need: an exploration of the physical and emotional journeys undertaken by a protagonist in a mainstream feature film'.
Loman, M 2009, 'Screenwriter Michael Loman with Craig Batty in Boston', Interview.
Tolchinsky, D 2009, 'Screenwriter/Composer'.
Street, KL 2009, 'Head of Development/Development Coordinator/Freelance Scriptwriter/Trainer Karen Lee Street with Craig Batty in London', Interview.
Macak, J 2009, 'Assistant Professor of Screenwriting James Macak with Craig Batty in Boston', Interview.
Seger, L 2009, 'Script Consultant and author Linda Seger with Craig Batty in London', Interview.
Vogler, C 2009, 'Story Analyst and Author Christopher Vogler with Craig Batty in Los Angeles', Interview.
Oldfield, C 2009, 'Drama Executive Catherine Oldfield with Craig Batty in London', Interview.
Spence, P 2009, 'Head of Drama (BBC Northern Ireland) Patrick Spence with Craig Batty in London', Interview.
Graham, J 2009, 'Playwright/screenwriter James Graham with Craig Batty in London', Interview.
Weinberg, M 2009, 'Story analyst Marc Weinberg with Craig Batty in Boston', Interview.