The journal wants to emphasize the importance of trauma inclusively, across eras, geographies, and genres from diverse perspectives. This may arise from an analysis of bodies of work, from individual scripts, or from case studies where trauma has been significant for screen stories.

Articles may include (but are not limited to) the following topics:
• Case studies on individual screenwriter’s work, collaborations
• Trauma in the life and work of the screenwriter
• Trauma in screenwriting and for screenwriting
• Trauma as screenwriting
• Screenwriting to overcome trauma
• Post-traumatic stress disorder and screenwriting
• Trauma, memory, remembering, and screenwriting
• Collective trauma and screenwriting
• Child abuse, trauma, and screenwriting
• National and global tendencies regarding trauma and screenwriting
• Commemorating trauma
• Transnational trauma and screenwriting
• Trauma, intersectionality, and screenwriting
• Trauma, time, and screenwriting
• Trauma in screenwriting drafting, editing, in narrative, plot, structure, character/s
• Trauma in story as secret, authenticity, fantasy
• The hidden overt and covert text
• Theories and practices of trauma and screenwriting (especially in relation to duration and time via Bergson, Levinas, Sartre, Irigaray, Derrida, and Deleuze)

In the first instance, please email abstracts of up to 400 words and a short biography, no later than April 3, 2023, to the editor of this special issue: Jason Lee jason.lee@dmu.ac.uk

Following confirmation, articles of between 4000 and 8000 words should be sent by November 18, 2023, directly to the editor jason.lee@dmu.ac.uk following the journal’s house style which can be accessed here

Peer review acceptance/rejection will be completed by the end of March 2024. Rewrites will be due by the end of July 2024.