SRN Executive Council Members

Here you can find information about the Executive Council and its activities (below). The current members of the Executive Council are:

Margaret McVeigh PhD (Chairperson) is Head, Screenwriting & Contextual Studies, Griffith Film School, Griffith University, Australia. She is 2021-2022 Chair of the SRN (Screenwriting Research Network International). Margaret holds a Masters of Screenwriting by Creative Practice and a PhD in Film and New Media Narrative. She has extensive national and international industry experience in Public Relations and Post-Production and has worked as the Commissioning Editor for Wiley publishers and as a Writer for the Australian National Broadcaster’s ABC Splash. Margaret is co-editor of Transcultural Screenwriting: Telling Stories for a Global World (2017). Her chapter, Work in Progress: the Writing of Shortchanged in The Palgrave Handbook of Screen Production (2019), explores her creative process in writing a feature film, development-funded by Screen Queensland.

Rosanne Welch, PhD, (Secretary) serves as Executive Director of Stephens College MFA in TV and Screenwriting where she created a set of History of Screenwriting courses (because ‘History of Film’ courses become History of Directors’ courses and thereby ‘History of Great Men’) and teaches courses in One-Hour Drama. Her television writing credits include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. Welch edited When Women Wrote Hollywood (2018), named runner-up for the Susan Koppelman Award honoring the best anthology, multi-authored, or edited book in feminist studies by the Popular Culture Association. She co-edited Women in American History: A Social, Political, and Cultural Encyclopedia (named to both the 2018 Outstanding References Sources List and to the list of Best Historical Materials, by the American Library Association) and wrote Why The Monkees Matter: Teenagers, Television and American Popular Culture. In 2016 Welch gave the talk “The Importance of Having a Female Voice in the Room” at the TEDxCPP ( She also serves as Book Reviews Editor of the Journal of Screenwriting.

Rose Ferrell (Membership and Inclusion Officer) is an independent researcher, film / screenwriting practitioner and adjunct lecturer at one of Australia’s premier acting schools, the Western Australian Academy of Performing Arts (WAAPA), within Edith Cowan University, Perth, Australia. Rose has a background in film production as both a technician and creator of fiction and non-fiction, and as a leader / trainer in community arts film projects. As a screenwriter and researcher, Rose’s interests are in creative practice, screenwriter’s voice and cultural-national inflection in voice. Her writings have been published in the Journal of Screenwriting (Intellect, 2017), Transcultural Screenwriting: Telling Stories for a Global World (Cambridge Scholars 2017), the Palgrave Handbook of Screen Production (2019) and the forthcoming Palgrave Handbook of Script Development (2021). She was editor of a special issue of the Journal of Screenwriting on Women in Screenwriting with Rosanne Welch, of Stephens College, Los Angeles, and is developing a book on the same theme, again with Rosanne. Rose’s latest work is a stage musical, Her Latest Flame, expected to be produced in 2022.

Rafael Leal (Website Coordinator) is a screenwriter and executive producer based in Rio de Janeiro. Professor of Screenwriting at the Pontifical Catholic University of Rio de Janeiro and PhD Candidate in Film at Fluminense Federal University, Rafael researches how immersive narratives challenge linear screenwriting. His creations include the feature film Too Soon and TV shows Queenpin and Jungle Pilot, whose development was subject of the chapter Transcultural Collaboration in Screenwriting: Jungle Pilot’s Case Study, published in the book Transcultural Screenwriting: Telling Stories for a Global World (Cambridge Scholars). You can find him at, IMDb or at his personal website.

Jan Černík (Newsletter Editor) is Assistant Professor in Film Studies at Palacký University (Czech Republic). In research he combines an interest in the topics of Czech and Czechoslovak cinema, audiovisual industries, and screenwriting. He believes that in an exploration of audiovisual culture, we have to consider the applicability of our findings, which is an idea highly compatibile with the efforts of Screenwriting Research Network. Jan graduated in film studies and philosophy and received his Ph.D. degree in film history in 2018. You can find his publications at and Research Gate.

Shaopeng Chen (Early Career Researcher Representative) is a lecturer in School of Arts, Southeast University (China). He received his PhD degree in Film Studies from University of Southampton (UK). He holds a MA degree in Animation Arts from Nanjing University of the Arts (China), but his research covers both Chinese animation and live-action Chinese film. He has published articles in various periodicals such as Journal of Screenwriting, Animation: An Interdisciplinary Journal and Film Criticism. His first monograph The New Generation in Chinese Animation was published by Bloomsbury in September 2021. His research interests include animation screenwriting, general aesthetics in animation, film industry in China, government policy of Chinese creative industries and the cartoon brand in the Chinese animation industry.


Isadora García Avis (Newsletter Co-Editor)is Lecturer in Audiovisual Narrative at the School of Communication Sciences, Universitat Internacional de Catalunya (Spain), where she teaches modules on film and television narrative, screenwriting for television formats and transmedia storytelling. She obtained her PhD at the University of Navarra (Spain), with a doctoral dissertation on transcultural remakes in television. Her thesis was awarded the First Prize of Research in Audiovisual Communication, issued by the Audiovisual Council of Catalunya. Her main academic interests focus on adaptation studies, screenwriting, and television formats (more specifically, scripted series). Her research tends to have a transcultural scope, and it usually combines textual and hermeneutical analysis of audiovisual narratives with other qualitative methods, like in-depth interviews with screenwriters and producers. You can find her at