ABSTRACT

This article investigates, through interviews, the script development processes of four female-identifying web series creators, contributing to scholarship around web series’ ability to serve diverse communities [Christian 2020. “Beyond Branding: The Value of Intersectionality on Streaming TV Channels.” Television & New Media 21 (5): 457–474; 2011. “Fandom as Industrial Response: Producing Identity in an Independent Web Series.” TWC – Transformative Works and Cultures, 8, ‘Race and Ethnicity in Fandom’ special issue; Monaghan 2017 Monaghan, W. 2017. “Starting from … Now and the web Series to Television Crossover: An Online Revolution?” Media International Australia 164 (1): 82–91.[Crossref], [Web of Science ®] , [Google Scholar]. “Starting From … Now and the Web Series to Television Crossover: An Online Revolution?” Media International Australia 164 (1): 82–91; Williams 2012 Williams, D. 2012. Web TV Series: How to Make and Market Them. Harpenden: Kamera Books. [Google Scholar]. Web TV Series: How to Make and Market Them. Harpenden: Kamera Books], but from the perspective of the writing process. The three web series making up this small sample – Last Breath (2018), Love Songs (2019) and Phi and Me (2019-) – have all experienced notable levels of ‘success’ (defined here variously in terms of views, festival selections, and awards). This article offers a preliminary investigation into how women’s web series writing practices may – or may not – depart from conventions that are practiced in mainstream settings of episodic script development, and/or are circulated by the screenwriting ‘how-to’ market. Using the insights into these writing processes, this article builds upon web series scholarship (where, it has been argued, innovations around diversity are leading the way in terms of screen content and distribution) by exploring the extent to which gender and cultural diversity, platform and standardised story structures inform the script development processes.

摘要

本文通过采访调查了四位具有女性身份的网络系列创作者的脚本开发过程，为围绕网络系列服务于不同社区的能力的学术研究做出贡献 [Christian 2020。“Beyond Branding: The Value of Intersectionity on Streaming TV Channels”。电视与新媒体21 (5)：457–474；2011 年。“作为工业反应的狂热：在独立的网络系列中产生身份。” TWC – 变革性作品和文化，8，“狂热中的种族和民族”特刊；莫纳汉2017 莫纳汉，W. 2017 年。“从……现在开始，从网络系列到电视跨界：一场在线革命？”澳大利亚国际媒体164 (1): 82 – 91。[Crossref]、[Web of Science®]、 [Google Scholar]。“从……现在开始，网络连续剧到电视跨界：一场在线革命？” 澳大利亚国际媒体164 (1): 82–91; 威廉姆斯2012 威廉姆斯D. 2012 年。网络电视剧：如何制作和营销它们。哈彭登：卡梅拉书籍。 [谷歌学术]。网络电视连续剧：如何制作和营销它们。Harpenden: Kamera Books]，但从写作过程的角度来看。组成这个小样本的三个网络系列 -Last Breath(2018),Love Songs(2019) 和Phi and Me(2019-) – 都经历了显着的“成功”水平（这里在观点、节日选择和奖项方面有不同的定义）。本文初步调查了女性网络剧的写作实践如何可能——也可能不——背离在情​​节脚本开发的主流环境中实践的惯例，和/或在编剧“操作方法”市场中传播。本文利用对这些写作过程的见解，建立在网络系列学术研究的基础上（有人认为，围绕多样性的创新在屏幕内容和分发方面处于领先地位）通过探索性别和文化多样性、平台标准化的故事结构为脚本开发过程提供信息。