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.
Contact number: +61 2 9514 1959
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.
Batty, C & Taylor, S 2021, The Palgrave Handbook of Script Development, London: Palgrave Macmillan.
Batty, C & Taylor, S 2020, Script Development: Critical Approaches, Creative Practices, International Perspectives, London: Palgrave Macmillan.
Batty, C, Dwyer, T, O'Meara, R & Taylor, S 2020, TV Transformations and Female Transgression: From Prisoner Cell Block H to Wentworth, Oxford: Peter Lang.
Batty, C & Waldeback, Z 2019, Writing for the Screen: Creative and Critical Approaches (2nd ed.), 2nd ed., London: Palgrave Macmillan.
This revised and refreshed edition guides the contemporary screenwriter through a variety of creative and critical approaches to a deeper understanding of how to tell stories for the screen. With a renewed focus on theme and structure, the book is an essential guide for writers, script developers and teachers to help develop ideas into rich dynamic projects, and craft compelling, resonating screenplays. Combining creative tools and approaches with critical and contextual underpinnings, the book is ideal for screenwriting students who are looking to expand their skills and reflect on practices to add greater depth to their scripts. It will also inspire experienced writers and developers to find fresh ways of working and consider how new technology is affecting storytelling voices. Comprehensive and engaging, this book considers key narrative questions of today and offers a range of exercises to address them.
Integrating creative guidance with rigorous scholarship, this is the perfect companion for undergraduate students taking courses in screenwriting. Encouraging and pragmatic, it will provide a wealth of inspiration for those wishing to work in the industry or deepen their study of the practice.
Batty, C, Berry, M, Dooley, K, Frankham, B & Kerrigan, S 2019, The Palgrave Handbook of Screen Production, Palgrave Macmillan.
This handbook is an essential creative, critical and practical guide for students and educators of screen production internationally.
Brien, DL, Batty, C, Ellison, E & Owens, A 2019, The Doctoral Experience Student Stories from the Creative Arts and Humanities, Palgrave Macmillan.
This book offers important insights into the challenging yet rewarding journey of undertaking a PhD.
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.
Batty, C 2012, Screenplays: How to Write and Sell Them, Oldcastle Books.
Waldeback, Z & Batty, C 2012, The Creative Screenwriter: Exercises to Expand your Craft, A&C Black.
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.
Barnacle, R, Cuthbert, D, Schmidt, C & Batty, C 2020, 'HASS PhD graduate careers and knowledge transfer: A conduit for enduring, multi-sector networks', Arts and Humanities in Higher Education, pp. 147402221987097-147402221987097.View/Download from: Publisher's site
© 2020, Springer Nature B.V. This article investigates the value of Humanities, Arts and Social Sciences (HASS) candidates’ prior industry networks and experiences as they intersect with doctoral study, as assessed by a group of HASS PhD graduates. While the phenomenon of industry engagement in PhDs across HASS and STEM is widely recognised, the value of these relationships to the PhD experience is less understood. This is particularly the case in HASS PhDs given the opportunities afforded to this predominantly mature-aged cohort of pre-existing professional networks. In our previous work on this topic, we showed that engaging with industry throughout the HASS PhD research lifecycle is widespread, and that networks may have their genesis prior to commencement and persist into careers post-graduation. In this article, we subject these networks to finer-grained analysis. Based on 16 in-depth interviews, we investigate the value HASS PhD graduates ascribe to their industry networks pre-, during and post-graduation. Our analysis suggests industry engagement during the PhD contributes value in two key ways: by facilitating candidate learning, in the form of research design and data collection related activities, and for knowledge exchange. These insights are further enhanced by development of a novel analytical model that measures the extensiveness, or continuity, of industry engagement across the PhD lifecycle. Comparative analysis reveals a correlation between enduring industry engagement and academic careers post-graduation, suggesting additional value in the form of a highly industry integrated HASS academic labour force. Our findings suggest HASS PhDs can function as an important and hitherto under-recognised industry engagement vector, contributing added value to the research process with multiple potential beneficiaries.
Batty, C 2020, 'Vectors of Knowledge Transfer and Exchange: Exploring Multi-Sector Engagement in HASS PhDs', Higher Education.
Batty, C & Conroy, CM 2020, 'Writing the Organizational Crisis: Embodied Leadership Engaged Through the Lens of a Playscript', New Writing: the international journal for the practice and theory of creative writing.
Batty, C, Brein, DL, Ellison, E & Owens, A 2020, 'Student Reflections on Doctoral Learning: Challenges and Breakthroughs', Studies in Graduate and Postdoctoral Education.
Batty, C, Ellison, E, Owens, A & Brien, D 2020, 'Mapping the emotional journey of the doctoral ‘hero’: Challenges faced and breakthroughs made by creative arts and humanities candidates', Arts and Humanities in Higher Education.View/Download from: Publisher's site
© The Author(s) 2019. This article discusses how doctoral candidates identify and navigate personal learning challenges on their journey to becoming researchers. Our study asked creative arts and humanities candidates to think beyond the research project itself and reflect on emotional hurdles they were facing or had overcome. The findings point to a great deal of ‘invisible’ work that underpins doctoral study, and show that such hidden work can have a major influence not only on the research project, but also on progress and satisfaction with the learning journey. In this article, we outline the key themes that emerged from the study: on the emotional and transformational dimensions of the doctoral journey. Using these themes and the candidate stories surrounding them, we align the doctoral journey with Joseph Campbell’s journeying ‘hero’ and Mezirow’s concept of transformation, and suggest how making such invisible aspects of candidature more visible might enhance research training.
© 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.
Brien, DL, Owens, A, Batty, C & Ellison, E 2019, 'Investigating Candidates’ Research Experience Beyond the Thesis: The Peripheral World of the Doctorate', TEXT: Journal of Writing and Writing Programs, no. Special Issue 57, pp. 1-17.
This article focuses on both the process and the results of a recently completed research project that concentrated on what are commonly seen as peripheral aspects of the doctorate; that is, aspects of candidature that lie beyond, and outside of, the core work of what is widely understood to be research training. The project saw 18 candidates from the creative arts and humanities – and creative writing in particular – gather to reflect upon their learning journeys, and then analyse and theorise the ‘human’ dimensions of undertaking a doctorate. These often peripheral aspects were revealed to
have a major influence on undertaking a research degree, as well as affecting
candidates’ progress and satisfaction with their studies, and career potential beyond the research degree. This article first outlines how candidates were able to develop a language with which to identify some of the major human dimensions – the lived experience – of undertaking a doctorate that emerged from the project. It then explores how candidates were able to articulate their own growth in the form of producing an edited collection of essays in order that others might benefit from this reflective learning.
Owens, A, Brien, DL, McAllister, M, Batty, C, Carson, S & Tuckett, A 2019, 'Researching, Implementing, and Evaluating Industry Focused and Cross-Disciplinary Doctoral Training', International Journal of Doctoral Studies, vol. 14, no. 2, pp. 651-673.View/Download from: Publisher's site
Aim/Purpose: This article reports on university-funded research conducted to inform, design and implement applied industry-integrated training that could support higher degree by research (HDR) candidates in the disciplines of nursing and creative arts.
Background: Doctoral candidates contribute in steadily increasing numbers to the intellectual and economic capital of universities globally, however, the quality of candidate progression and outputs has also been widely criticised. How to best support doctoral candidates for success is therefore a critical focus for universities and an ongoing area of research.
Methodology: The study was framed as an action research project as it was driven by the identification of a problem embedded in professional practice that invited action and reflection as well as participation from other practitioners in the field.
Contribution: This article presents a multidimensional, industry-focused model for HDR training that effectively engages HDR candidates with key threshold concepts for research.
Findings: Doctoral training needs to be more holistic, integrative and career-focused to meet the needs of increasing numbers of candidates with diverse backgrounds and post-doctoral career pathways.
Recommendations for Practitioners: This article provides a doctoral training model that can be adapted to other disciplines and industry contexts.
Recommendation for Researchers: This article provides a doctoral training model that can, and should, be adapted to other disciplines and industry contexts in order to build more substantive and reliable evaluative data.
Impact on Society: As secure career pathways in academia are diminishing, while the number of doctoral candidates are increasing, the integration of industry partners and applied contexts into holistic doctoral training is critical for the working futures of doctoral graduates.
Future Research: Further implementations and evaluations of the training workshop provided ...
Tofler, M, Batty, C & Taylor, S 2019, 'The comedy web series: Reshaping Australian script development and commissioning practices', Australasian Journal of Popular Culture, vol. 8, no. 1, pp. 71-84.View/Download from: Publisher's site
This article argues that, for Australian comedy series creators, the web platform has opened a new space in which the ‘rules’ of script development are being expanded, enhanced or otherwise refashioned through having direct connection with and input from their audience. With the audience’s potential as a ‘comedy gatekeeper’, the web series audience becomes integral to the ways in which these texts are developed, namely skipping the erstwhile second-guessing of demographic tastes by more traditional broadcast development executives and commissioners. Referring to a range of well-known Australian comedy web series, such as Bondi Hipsters (2011–2017) and The Katering Show (2015–17) – including what their creators, writers and audiences have said about them – we investigate the processes behind the success of these series to argue that a new form of script development has emerged: namely, that development is both facilitated and influenced by the direct line that exists between comedy creators and their viewers. Furthermore, we suggest that through such a collaborative and open-access process of script development, comedy writers and performers might also benefit from an expanded form of talent development.
Batty, C & Baker, DJ 2018, 'The role of fiction in screenwriting (as) research', TEXT: Journal of Writing and Writing Programs, vol. 48, pp. 1-10.
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, 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: Publisher's site
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: 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, 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.
Batty, C & Brien, DL 2017, 'The exegesis now: where are we, and where are we going?'.
Batty, C & Holbrook, A 2017, 'Contributing to knowledge in creative writing research: what, where, how?'.
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, Taylor, S, Sawtell, L & Conor, B 2017, 'Script development: Defining the field', Journal of Screenwriting, vol. 8, pp. 225-247.
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.
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 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 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.
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, 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.
© 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.
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...
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.
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.
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.
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 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...
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 & Taylor, S 2015, 'Interrogating writing practices: perspectives from the screenwriting industry', Writing in Practice: The Journal of Creative Writing Research, vol. 1.
Batty, C, Perkins, C & Sita, JC 2015, 'How we came to eye tracking animation: A cross-disciplinary approach to researching the moving image'.
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 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 & 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 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 & Berry, M 2020, 'What Could Possibly Go Wrong? The Role of Supervisors in Ethics Training for Creative Practice Researchers' in The Meeting of Aesthetics and Ethics in the Academy: Challenges for Creative Practice Researchers in Higher Education, Routledge, UK.
Batty, C & Taylor, S 2020, 'The Role of the Script Editor, Revised' in Creative Writing: Drafting, Revising and Editing.
Batty, C, Gauson, S & Burne, P 2020, 'Screen/writing the Beach: Conflict, Catharsis and the Character Arc' in Writing the Australian Beach: Local Site, Global Idea., London: Palgrave Macmillan.
Batty, C, O’Meara, R, Dwyer, T & Taylor, S 2020, 'From the Stony Ground Up: The Unique Affordances of the Gaol as ‘Hub’ for Transgressive Female Representations in Women-in-Prison Dramas' in The Palgrave Handbook of Incarceration in Popular Media, London: Palgrave.
Batty, C & Taylor, S 2019, 'Teaching Screenwriting Through Script Development: Looking Beyond the Screenplay' in Batty, C, Berry, M, Dooley, K, Frankham, B & Kerrigan, S (eds), The Palgrave Handbook of Screen Production, Palgrave Macmillan, London, pp. 459-472.View/Download from: Publisher's site
This chapter focuses on screenwriting pedagogy through the lens of script development, asking what might be gleaned from industry that helps students to learn about aspects of writing for the screen beyond the screenplay itself. In other words, is script development a more viable pedagogy for teaching and learning the craft of screenwriting, one that exposes students to the wider world of industry and career ‘success’ than merely focusing on the writing of a script? The chapter draws on a dataset of 14 interviews with industry professionals from Australia, New Zealand, the UK and the USA. The interviewees have worked in a variety of roles in the screen industry across these countries, including as screenwriters, script consultants, script editors, story editors and storyline writers; and as screenwriting educators in universities, colleges and private training and consultancy settings. They represent a rich and diverse dataset for the discovery of new insights into what this chapter argues could be an important and distinctive screenwriting pedagogy.
Sergi, M & Batty, C 2019, 'Understanding the Underlying Principles of the Short Film' in Batty, C, Berry, M, Dooley, K, Frankham, B & Kerrigan, S (eds), The Palgrave Handbook of Screen Production, Springer, Germany, pp. 49-60.View/Download from: Publisher's site
This chapter explores the types of story possible within short films, and how often there can be confusion and uncertainty, particularly amongst student filmmakers, about what a short film really is. In order to better understand this, this chapter outlines a series of underlying principles about short film story design that, we argue, are integral to the initial stages of conceiving such films. Before script development takes place, we argue that realistic thinking about what the short film can deliver in terms of story, characters, scope and dramatic question, will result in a screen work that is not only feasible for student filmmakers to produce, but is also more likely to increase an audience’s emotional engagement with the film. Drawing on a range of multi-award-winning contemporary short films to illustrate these principles, we discuss the relationship between content and form in this genre, leading to a better understanding of the parameters within which a student filmmaker might work. While not presenting these parameters as strict and unbreakable, we argue that knowing what has worked well for others, and what audiences expect from the short film form, provides a solid basis from which to begin conceptualising a short film.
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: 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: 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 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, Holloway, S & James, G 2015, 'Questions and Answers: Responding to Creative Writing teaching and Learning', Multilingual Matters, pp. 87-87.
Batty, C 2014, 'Costume as character arc: How emotional transformation is written into the dressed body' in Screenwriters and Screenwriting, Springer, pp. 80-94.
Batty, C 2014, 'Costume as Character Arc: How Emotional Transformation is Written into the Dressed Body' in Screenwriters and Screenwriting, Palgrave Macmillan, pp. 80-94.View/Download from: Publisher's site
Batty, C 2014, 'Me and you and everyone we know: The centrality of character in understanding media texts', pp. 35-56.
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, 'Smartphone Screenwriting: Creativity, Technology, and Screenplays-on-the-Go' in Mobile Media Making in an Age of Smartphones, Palgrave Macmillan US, pp. 104-114.View/Download from: Publisher's site
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.
Mouton, A, Rutherford, I & Yakubovich, I 2011, 'INTRODUCTION', LUWIAN IDENTITIES: CULTURE, LANGUAGE AND RELIGION BETWEEN ANATOLIA AND THE AEGEAN, Luwian Identities Conference - Culture, Language and Religion Between Anatolia and the Aegean, BRILL, Univ Reading, Reading, ENGLAND, pp. 1-21.
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.
Batty, C 2020, 'bbvibweibewiu', bibiur, errgr.
Batty, C 2018, 'A vacuous screenplay in search of rigour', TEXT: Journal of Writing and Writing Courses (vol 48), AAWP, Brisbane, Australia, pp. 1-18.
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, 'Dirty talk: Scriptwriting, script editing and the creative process', pp. 1-17.
Batty, C 2015, 'The (im) perfect screenplay: A parody of craft and industry', pp. 1-18.
Rogers, C 2015, 'I am Evangeline', Briarbird & Co, Australia.
Batty, C 2013, 'Frankie goes to Hollywood: A screenplay', pp. 1-35.
Dorrington, S 2010, 'Toothless', Aura Films, United Kingdom.
Dudley, W & O'Hara, R 2008, 'Dogberry and Bob: Private Investigators', Sixty 6 Media, United Kingdom.
Batty, C 2007, 'Tom, Dick and Harry: A Screenplay', Taylor & Francis, pp. 97-107.
Batty, C & Lang, T 2006, 'The Artist', Alt Enter Productions, United Kingdom.
Batty, C 2005, 'Southampton Solent University', Tour Guide Films, United Kingdom.
Batty, C 2004, 'The Spin: A Short Radio Play', Out of the Dark: An Anthology, Bath: Bath Spa University College, United Kingdom.
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'.
Graham, J 2009, 'Playwright/screenwriter James Graham with Craig Batty in London', Interview.
Loman, M 2009, 'Screenwriter Michael Loman with Craig Batty in Boston', Interview.
Macak, J 2009, 'Assistant Professor of Screenwriting James Macak with Craig Batty in Boston', Interview.
Oldfield, C 2009, 'Drama Executive Catherine Oldfield with Craig Batty in London', Interview.
Seger, L 2009, 'Script Consultant and author Linda Seger with Craig Batty in London', Interview.
Spence, P 2009, 'Head of Drama (BBC Northern Ireland) Patrick Spence with Craig Batty in London', Interview.
Street, KL 2009, 'Head of Development/Development Coordinator/Freelance Scriptwriter/Trainer Karen Lee Street with Craig Batty in London', Interview.
Tolchinsky, D 2009, 'Screenwriter/Composer'.
Vogler, C 2009, 'Story Analyst and Author Christopher Vogler with Craig Batty in Los Angeles', Interview.
Weinberg, M 2009, 'Story analyst Marc Weinberg with Craig Batty in Boston', Interview.