In Deaf1 film and television, modest production budgets and limited training opportunities present considerable challenges for emerging screenwriting talent. This article argues that orthodox approaches to developing screenplays must be expanded when working in this context. The analysis focuses on an individual case study: the development of a half-hour television drama between a professional hearing script editor and a novice Deaf screenwriter. The article discusses the creative and cultural complexity of the editor‐writer relationship, drawing on Schon’s ‘reflective practitioner’ concept, Ladd’s analysis of Deaf culture, Gramsci’s elaboration of the subaltern and the theories of Bourdieu, Foucault and Freire. More specifically, Macdonald’s Screen Idea Work Group is employed to explore the dialogical process of shared creation, which expands out to include production team, actors and interpreters via a uniquely adapted ‘table read’ situated at the heart of the development process. Reflecting on the value of this powerful encounter, the aim of the study is to address a gap in knowledge about this practice phenomenon and to contribute to Deaf filmmaking practice by proposing an original methodology. Overall, it is contended that greater investment is required to develop assured screenwriting voices to serve Deaf film and television audiences.

This paper examines how orthodox approaches to developing screenplays must be expanded when working with emerging screenwriting talent. It explores the particular issues and problems facing those working in Deaf film and TV, where production budgets are modest and training opportunities few. The analysis focusses on an individual case study: the year-long development of a half-hour TV drama between a professional hearing script editor and a novice Deaf screenwriter.The well-established formulation of the script editor is as a story expert supporting the screenwriter to hone her/his screenplay. Borrowing Gabriel’s idea of a ‘boundary rider’, the paper examines how the script editor works energetically to preserve the agency of the new screenwriter; to privilege experiential learning whilst responding to the demands of an industrial commissioning process and production specification. Drawing on Gramsci’s elaboration of the subaltern and the theories of Foucault and Bourdieu, it discusses the creative and cultural complexity of the editor - writer relationship.Macdonald’s proposed framework of the Screen Idea Work Group is employed to explore the lived experience of a dialogical process of shared creation, which expands out to include production team, actors and interpreters via a uniquely adapted Table Read situated at the heart of the script development process. The value of this powerful encounter for the screenwriter is reflected on as well as its cost. Overall it is contended that much greater investment is required to develop assured screenwriting voices that can craft compelling stories to connect with audiences for Deaf film and TV.