Screen Stories 2026 seeks live-action fiction short films

This year’s programme is aimed at Disabled writers who are eager to grow their careers as screenwriters of live-action fiction short films only, not animation or documentary. It will be shaped around the needs and goals of those selected, with tailored workshops, mentoring, talks and events to help develop the writer’s voices, stories, and creative work.

A group portrait of Leah Moore, Alan Carrigan and Ronan Nugent in a room with walls covered in movie posters.
Screen Stories 2025 writers: Leah Moore, Alan Carrigan and Ronan Nugent

Programme details

Running for 5 months from July to November 2026, the programme aims to develop participants’ screenwriting and networking skills, with a focus on strengthening their scripts and developing their idea, rather than finishing and polishing a final draft. 

This programme offers tailored support, delivered online and/or in person depending on participants’ access needs. It includes training, peer networking, workshops, talks, Q&A sessions with leading industry professionals, and one-to-one mentorship. Support will be provided by creatives both within and outside the film and TV industries, including Disabled and non-Disabled experts. 

The session will run twice a month on Wednesday, in the early afternoon. Outside of these sessions, writers will work on their scripts and work with their mentors. 

A bursary paid in installments will support participants through the programme and cover associated costs with developing their scripts. 

While most of the sessions will be hosted online, the programme will end with a table read event in-person. This will take place in Dublin city in November 2026, where the most recent drafts of the scripts will be read out by professional actors. 

The National Talent Academy for Film & TV Drama and Tilting the Lens will meet the access requirements of the selected applicants, while adjusting the programme accordingly, and cover the associated costs. 

“From the get-go, Screen Stories was a game-changer for me as a screenwriter, but it also opened up my eyes to the possibility of becoming a director. Having people in your corner is always a treat, but between Tilting the Lens and the National Talent Academies, they encouraged me to aim for more. I spent so long fighting to get my foot in the door of the film industry, but by expanding my skillset through the workshops and building on my confidence with my mentor, I eventually found myself inside the room.”

Louise Bruton, Screen Stories Participant. 

Eligibility

Applicants must:

  • Identify as Disabled, including physical, sensory, neurological, neurodevelopmental, mental health or medical conditions,
  • Be aged 18 or over,
  • Not be in full-time education,
  • Be resident on the island of Ireland, or an Irish applicant living abroad who can attend sessions scheduled in GMT.

Applicants should demonstrate an interest or engagement in creative writing across any form, including film, theatre, literature or other creative disciplines.

Applications are open to both individuals and co-writing teams, provided the project is centred around a Disabled creative.

Apply for 2026

Applications are open from now until Tuesday, 9 June 2026 at 12 noon. 

The application process has been carefully designed to be as accessible and equitable as possible. If you are a Disabled writer, or part of a co-writing team led by a Disabled creative, with a vision for a fiction short film, we particularly encourage you to apply.

Together with the National Talent Academies, we are committed to continuing this work: dismantling barriers, investing in talent, and amplifying Disabled creatives to tell the stories only they can.

For more information and to apply, visit the National Talent Academy website: Screen Stories Course Information

Information Session

An online information session and Q&A will take place at 12 Noon on 26 May 2026.

Further details and registration are available via the NTA website at Screen Stories Course Information

Watch Sinéad Burke's keynote speech at ZeroCon 2026

Sinéad Burke's keynote transcript

Sinéad Burke

I didn’t think I would start this morning by crying and being emotional. Emily, thank you so much.

A brief visual description—and Emily, thank you for the mention of fashion up top. My name is Sinéad Burke. I’m the CEO and founder of Tilting the Lens. I’m a white, cisgender woman. I use the pronouns she and her. I have brown hair that is not coping well with today’s humidity. I’m wearing a custom navy Gucci jacket, black wool Prada trousers, a cashmere jumper, and Ferragamo heels—which will mean something to some people and nothing to almost everybody else.

Before I go any further, I want to just take a moment to thank all of the people who have made today possible. I know that the Foundation has been mentioned, but I specifically want to thank Robin, Alessandro, and Anna for the volume of hours, time, energy, and commitment, and the wider team that have made today possible and feasible. Thank you.

I’m going to try and do the inaccessible thing of holding cards, a microphone, and a clicker all at the one time, so thank you for your patience.

To give you a bit of a sense and introduction into who I am: five and a half years ago, I founded Tilting the Lens. We are a business—and very critically and importantly, a business. We’re a strategic accessibility consultancy based across Europe. My colleagues are based in Germany, Spain, the UK, and Ireland, North and South. We are a majority-Disabled team, an all-female team, and we take a disability justice approach to our work, which fundamentally is ensuring that we leave nobody behind.

But what is it we do? We drive system change to create the conditions for Disabled people to be successful. The UN Convention on the Rights of People with Disabilities is fundamental, but my ambition is that it does not go far enough. Yes, Disabled people have the right to work, but Disabled people should also have the right to be leaders.

We do this work across three different types of services: Built Environment, People and Workplace Culture, and Product and Service Design. But what does that mean tangibly?

In Built Environment, what I’m really interested in is, yes, compliance. But the reality is that for the majority of Disabled people, particularly those through an intersectional lens, compliance does not support their meaningful access. And in many instances, particularly in emergency and evacuation, it leaves them vulnerable and in great risk of harm. So, how do we create buildings that are accessible, beautiful, and that give everybody the agency that everybody requires? We’ve been very fortunate over the past two and a half years to be working on Chanel’s global headquarters in London, to be thinking about how a 15-billion-dollar business can not just employ Disabled people today, but how a Disabled CEO can be there in the very future.

In terms of People and Workplace Culture—and what I’m particularly interested in for a global business—one of the great challenges in supporting the employment of Disabled people is that the definition of disability differs in every territory. Do you know that if you’re in Italy and you have ADHD, technically, based on the legal definition, you’re not disabled? But what about if you get promoted and move to France? All of a sudden, the company and the country has a legal mandate to provide a reasonable accommodation and a reasonable adjustment for you. This is not creating the environments for Disabled people to be promoted and to thrive in organisations.

So why aren’t we ambitious to think about either a regional, global, or a business definition of disability within any organisation or government that supports a broadening and increasing remit for those who are neurodivergent? We know as fact that many definitions of disability are outdated and do not include those kinds of Disabled people, should they choose to identify as Disabled people. That is something that we should be working collectively to solve for, to ensure people do not fall through the cracks.

And lastly, in Product and Service Design—whether it’s fashion (I’ll tell you more about that later) or whether it’s thinking about: how do we design bank statements for people with intellectual disabilities and neurodivergent people so that not only can they engage with their bank statements independently or with assistive technology, but that it creates the pathway for them to think about getting investments, getting a mortgage, and getting financial interdependence?

In thinking about this work, we do it through audit, research, strategy, design, policy, and training. But one of the things I’m really interested in is how do we make sure that as we’re all doing this great work together, that we move the dial collectively rather than each working in silos? Late last year, we introduced our very first white paper, which I will show you in just a moment, which you can download.

But just in thinking about this process of working together—maybe just a note, and I’ll do this at a very high level, but looking forward to talking about it over the next three days—we don’t use the framework of Universal Design. We don’t use the framework of Inclusive Design. We use the framework of Human-Centered Design. The reason why we don’t use Universal Design is that of the seven principles, none of them create a criteria for the aesthetic of what is being created. Which, when we think about the design of accessible bathrooms—perhaps if you can raise your hand—how many of you have ever been in a beautiful accessible bathroom?

How many of you have ever been in an ugly accessible bathroom? Because when we design for Disabled people, we never think about their dignity or the idea that they might want a space that is beautiful. In thinking about Inclusive Design, the notion is we design for one and we extend to many. But what about if we just have to design for one? How do we build flexibility and dignity into our processes from the very outset? Centring that individual end-user and Human-Centered Design is thinking about all the barriers that exist and the opportunity for greater innovation.

I mentioned the white paper; on screen, there’s a screenshot and a QR code which can be available for you now and/or later.

We engaged with over 150 Disabled people across the world to understand: what is it that they need from designing, both in terms of products and in terms of clothes and footwear? Some of the baseline statistics that we received was 91% of Disabled customers report that they would buy multiples of an item if it was accessible. That idea that Disabled people, should they have the economics to do so, create customer long-term lifetime value. But also that 94% of Disabled people shop online because retail is still deeply inaccessible. Within this white paper, we have also open-sourced and developed our framework which you can use.

But this is the piece that I really want to delve into.

Under the UN CRPD, it asks and makes sure that Disabled people are consulted as part of the process. One of the key things that we learned within our white paper and our documentation and our research is how often, in terms of Disabled people, their engagement and their consultation is extractive. What that means is often that we go to Disabled people, we ask them for their pain and their trauma and their barriers, and then those of us with good intentions go off to create solutions with the desired outcome that eventually things will get better—with no guarantee or no sense of responsibility or accountability that, in that moment, their lives will be bettered, or that they will be engaged in the feedback.

Often a traditional model of community engagement, which feels transactional, is underpinned by the pillars of: a lack of feedback and outcomes; a lack of economic progress in the sense that often we find that our budget is small, so we “can’t pay Disabled people” (but a budget is a moral document); the research process in of itself is inaccessible and rigid—we ask Disabled people to assimilate based on our own tools; physical spaces and transport are deeply inaccessible; and we expect Disabled people to do the emotional labour and the physical labour that is required because we are listening. There’s bias and leading questions, and there’s a failure to account for intersectionality.

By that, I mean: are we deeply engaging with Trans Disabled people? With Disabled people from working-class backgrounds? With Disabled people from developing nations? With Disabled people who are migrants and refugees? Or is it the same Disabled people that we engage all of the time?

At Tilting the Lens, this is the model that we have developed and will continue to iterate. Co-design must be led by Disabled people. It must be intersectional, and it must be mandated that we leave nobody behind.

Access should be a baseline. We should not be asking people if they have any reasonable adjustments and then we will put access in place. Access should be proactive. It should be deeply embedded, and people should not have to do the work of articulating their access needs to be present. It should be multimodal. We should be creating new economies for Disabled people, even in areas where, for example, to receive money means there is a risk for benefits—we should be finding other ways to ensure that Disabled people are valued. And it should be iterative. It should be constantly reviewed with the right people in the room to ensure that progress occurs.

And what does this mean in thinking about the next three days?

I’d like to leave you with one question. Everybody in this room and those who are watching online is leading with good intentions. We want a more accessible and equitable world. But in order to do that, we must acknowledge, unpick, and redo the ableism that lives within all of us. As we think about progress, this is my ask to you: so often over the next few days, we will hear talk of “the end user,” “the service user.” I need us to lift our ambition of Disabled people and to not just think of Disabled people as people that we consult, as people that we hire but never promote—but for Disabled people to be leaders.

Lived experience is intellectual property, and it is a set of skills. And that lived experience and intellectual property translates into a skill set not in spite of barriers, but because of them. And if we in this room are not creating the pathways for Disabled people to be leaders, systems will never change.

Go raibh míle maith agaibh. Thank you so much.

Founder and CEO of Tilting the Lens, Sinéad Burke, reflected: “when I began to consider setting up a company and what that might be, I was driven to prove that a majority-Disabled team working with (where possible) Disabled partners and disability-owned suppliers, could create a company that was profitable AND operated for good.” 

“When I first learned about the B Corp programme, I felt immediately ambitious for Tilting the Lens to work towards accreditation, as the values aligned with ours, seamlessly.” 

What is B Corp certification?

Certified B Corporations are for-profit businesses that meet high standards of social and environmental responsibility, transparency, and accountability. They work to balance profit with purpose, ensuring that their operations benefit all stakeholders – not just shareholders. 

The certification uses a rigorous framework to assess our impact, drive meaningful improvements, and hold ourselves accountable to our actions. We began our journey toward becoming a certified B Corp in 2024. 

By pursuing the certification, we’ve taken a deep and honest look at how we operate, focused on enhancing our policies and processes to further the positive impacts on our team, clients, suppliers, partners, community, and the environment. 

Our assessment and score

Based on the B Impact assessment criteria, Tilting the Lens earned an overall score of 101.5

A score over 80 will qualify for certification and the median score for ordinary businesses who complete the assessment is currently 50.9.

View our B Corp company profile

A circle chart shows the relative and relevant scores for assessment. 101.5 is our Overall B Impact Score. A score of 80 Qualifies for B Corp Certification. 50.9 is the Median Score for Ordinary Businesses
Our overall B Impact Score is 101.5, with 80 needed to qualify.

Assessment criteria

There are five categories in the assessment that examine every part of our business: 

  1. Governance evaluates a company’s overall mission, engagement around its social and environmental impact, ethics, and transparency. This section also evaluates the ability of a company to protect their mission and formally consider stakeholders in decision-making through their corporate structure or governing documents.
  2. Workers evaluate a company’s contributions to its employees’ financial security, health and safety, wellness, career development, engagement, and satisfaction. This section recognises business models designed to benefit workers, such as companies that have workforce development programmes to support individuals with barriers to employment.
  3. Community evaluates a company’s engagement with and impact on the communities in which it operates, hires from, and sources from. Topics include diversity, equity and inclusion, economic impact, civic engagement, charitable giving, and supply chain management. In addition, this section recognises business models that are designed to address specific community-oriented problems, such as poverty alleviation through fair trade sourcing or distribution via microenterprises, producer cooperative models, locally focused economic development, and formal charitable giving commitments.
  4. Environment evaluates a company’s overall environmental management practices as well as its impact on the air, climate, water, land, and biodiversity. This includes the direct impact of a company’s operations and its supply chain and distribution channels.
  5. Customers evaluate a company’s stewardship of its customers through the quality of its products and services, ethical marketing, data privacy and security, and feedback channels. This section recognises products or services that are designed to address a particular social problem for or through its customers, such as health or educational products, serving underserved customers/clients, and services that improve the social impact of other businesses or organisations.

Key steps in our application process

  • Drafting our Impact Report 2025: The report is a reflection of our progress and the roadmap we’ve set for continued growth and impact.
  • Updating our Reasonable Accommodations Policy: covering flexible hours, assistive technology, tailored communication methods, or physical adaptations, we work collaboratively with each employee to identify what’s needed, to embed access into our company culture, and to set every person in the team up for success. 
  • Gathering employee feedback and satisfaction survey: “Being part of Tilting the Lens has been intrinsic in my personal journey with my own Disability. The values and ethos of the company culture are a fundamental part of every project we undertake, which makes this such a unique and conscientious team to be a part of.” – Emma Shaw, Senior Consultant 
  • Increasing employee benefits: through an “Education and Development Fund” for training and upskilling. Over the last 12 months our team spent an average of 2 weeks on training and employee development. 
  • We became a Living Wage employer in 2025
  • Increased investment in the Disabled community. In 2024 alone, we created 535 paid opportunities for Disabled people to share their expertise, with a total value of over €69,000 across six continents. 
  • Updating employee policies: We offer enhanced parental leave that goes beyond statutory requirements, giving our team the time and space to be fully present during important parenting moments. Our enhanced sick leave ensures that when life takes an unexpected turn, our people can rest and recover without added stress. We also offer disability-related leave, recognising that medical appointments, flare-ups, or health management may require time and flexibility beyond traditional leave structures. 
  • In the last year alone, the delivery of our Schools Policy reached approximately 1,000 students across Ireland, the UK, and the US – from primary school through to university level. 
  • Since the 1st January 2022, we have partnered with Ecologi to plant more than 2,000 trees. By offsetting a portion of our carbon footprint, we are actively working to maintain our status as a climate-positive workforce.

Read our B Corp profile

Read our Impact Report 2025

Our first Impact Report outlines our strategies to drive continued positive impact and improvement, while also assessing our performance against last year’s commitments and outcomes. We publish an Impact Report like this to demonstrate our commitment to transparency and accountability, and highlight the steps we've taken over the previous year to ensure our organisation continues to be a force for good.

Download Report PDF (1MB)

“As we began to undertake the research, both quantitative and qualitative, with over 100 disabled people from a global perspective, we began to realise that the insights that we were collecting and the frameworks that we were developing couldn’t and shouldn’t just stay with us,” says Sinéad Burke, when referencing her decision to make the paper open for all.

Read the article on Vogue.com 

The "Why" behind our redesign

The urgency for accessible design is clear. The WebAIM 2025 Report revealed that 94.8% of the one million home pages tested failed WCAG 2 guidelines. This statistic reinforced our commitment to ensuring our new website would not just meet, but exceed, minimum accessibility standards.

Our project goal was clear from the outset – to pass WCAG 2.1 AA, as a minimum, and increase access through research and innovation, while also being compliant with new European Accessibility Act (EAA) regulations (Standard EN 301 549).

We are coming close to the fifth anniversary of Tilting the Lens and naturally our home on the internet needed to evolve with us. We aimed to reflect the growth and evolution of our company, services and team, as well as better access to our resources, news, and events.

A graphic showing the old homepage on the top left with arrows emerging indicating to the new website homepage on the bottom right.
The old home page and our new one

Centering lived experience through Co-Design

Our approach is rooted in the Disability Justice model, which positions Disabled people as equal partners and experts in their own experiences and access needs. We focus on Human-centred Design and Co-Design methodologies for our projects and services, so this process was no different. 

Although a majority-Disabled team ourselves, we always remind ourselves that we don’t know what we don’t know. We partnered with New Graphic for web design and development and Cova Communications for content strategy and project management. We also engaged deeply with the Disabled community, particularly individuals from our Research Database, to ensure their insights shaped the design and development from the very beginning. This commitment meant our research practices were paid, respectful, and community-led, actively avoiding extractionary methods.

Accessible design should not mean boring or uninviting. We know that accessible and beautiful designs can go hand-in-hand. It was important for us to gather qualitative feedback on the designs to get a better picture of the personal experience of users. 

An iterative journey of user testing and feedback

While the team at Tilting the Lens were writing the content, the design and development process got underway. It involved continuous iteration, learning, and improvement. We integrated testing as early as possible into both the design and development phases. 

We completed multiple rounds of user testing, each providing invaluable feedback. 

  • Round one: Research and wireframe phase with Tilting the Lens team
  • Round two: Design phase testing with users
  • Round three: Navigation and browsing development testing with users
  • Round four: Focus testing on specific features with users

We utilised a number of common user testing methods to uncover both definitive design decisions and ambiguous sentiment. We used remote, unmoderated testing through Google forms. We also conducted follow-up interviews with users to expand on their answers and understand specific barriers. 

We designed our testing environments and methods to be as flexible and usable as possible to allow a variety of feedback from the widest possible group. 

Learning more about the co-design process and user testing

Our commitment to improvement continues

Our journey doesn’t end with the website launch. Tilting the Lens is committed to continuous review, updating, and improvement of our website’s accessibility and usability. We are currently conducting a further external independent audit, updating our internal content guidelines, and will continue working with assistive technology users to respond to feedback on the website.

This collaborative effort, blending our knowledge and experience, the expertise of New Graphic and Cova Communications, with the invaluable lived experiences of the Disabled community, has resulted in a website that truly embodies our mission: to drive system change and build a more equitable world for everyone by design.

Read our Accessibility Statement

Further Reading

“We’ve learned so much about making clothing more inclusive, but also the need for stores and real estate, packing and delivery to be accessible, too. I want Disabled people to be valued consumers – but for that to happen they also need to be decision-makers, leaders and trustees.”

At Tilting the Lens, we have worked with clients in the fashion industry for many years. We have collaborated across multiple teams and departments, designing strategies at a global level and translating them to support local market needs to transform internal and external systems. Our work typically begins by undertaking research with Disabled employees and customers, creating strategic roadmaps for change, designing measurement tools, and implementing new pipelines for recruitment and retention. We are excited to share even more of these stories with you over the coming months.

Read the full Guardian article

Allied Irish Banks (AIB) is one of Ireland’s leading financial services providers, offering personal, business, and corporate banking through an extensive national branch network and a rapidly evolving digital infrastructure.

Over the last year, Tilting the Lens has collaborated closely with AIB to support the development and implementation of a bank-wide accessibility strategy. This work contributes directly to AIB’s implementation of the European Accessibility Act (EAA)—EU legislation that sets harmonised accessibility standards for key services, including banking, that came into effect on June 28th 2025.

“AIB has the largest branch network in Ireland and with 3.35 million customers, we want to ensure our products and services are as accessible as possible. This is a journey we are committed to getting right. With the support of Tilting the Lens, we are working hard to ensure we are constantly improving our accessibility. The insights, strategy and training Sinéad and her team have provided are invaluable.”
— Geraldine Casey, Managing Director of Retail Banking, AIB

Strategic collaboration

Our work together focused on three primary areas:

1. Research informed by Disabled customers

Tilting the Lens led a comprehensive programme of qualitative and quantitative research to better understand the priorities and barriers experienced by Disabled customers using both AIB’s services and banking services in general. These insights were integral to shaping the bank’s strategy and guided practical improvements.

2. Enhancing digital products and services

Working with AIB’s teams and Disabled developers, Tilting the Lens supported the creation of digital accessibility guidelines for developers and product teams, and improvements to the bank’s websites, mobile app, and online platforms. Updates were designed to improve functionality for assistive technologies—such as screen readers, keyboard-only navigation, and voice input—bringing AIB’s platforms more in line with EAA requirements.

3. Staff training and organisational development

Training was delivered to AIB’s senior leaders, product teams, frontline colleagues, and a Townhall held to engage the entirety of the business. The sessions focused on embedding accessibility into everyday practices, strengthening understanding of inclusive design, aligning business objectives to accessibility outcomes, and building accountability into the internal culture with accessibility principles.

“We are particularly proud of the breadth and depth of our partnership with AIB. The success of this work was made possible by the investment of time, openness and consistency across multiple teams. Accessibility is not a one-off fix—it’s a long-term responsibility that begins with listening and leads to better systems for everyone.”
— Sinéad Burke, CEO and Founder, Tilting the Lens

Ongoing AIB initiatives

In parallel to the work led by Tilting the Lens, AIB undertook a number of additional initiatives as part of its broader accessibility strategy. These included:

  • A partnership with AsIAm, Ireland’s national autism charity, which led to Autism Friendly Accreditation across all 170 AIB branches—introducing sensory-friendly spaces, quiet rooms, sensory kits, and customer support training.
  • Upgrades to AIB’s ATM and lodgement networks to include voice guidance functionality, supporting visually impaired customers with accessible, self-directed banking.

While Tilting the Lens was not involved in these specific initiatives, they contributed to the wider effort of making AIB’s services more accessible, and underlines the importance of cross industry and cross community collaboration. 

This partnership communicates the value and potential outcomes that can be created when accessibility is resourced and implemented as a strategic priority. It reinforces the reality that accessibility is not a fixed state, or static entity. It’s ever-changing, evolving and iterating, to ensure we leave no one behind. 

Tilting the Lens is now an accredited Living Wage Employer.

We are a majority-Disabled team, and model access as a baseline in where we work, and how we work. To support us in recruiting and retaining the best talent, our team members work remotely and are spread across Europe with a number of employees based in the UK. In 2024, we established Tilting the Lens entities in the UK and Germany, allowing us to directly employ our team in their country of residence.

With this Living Wage Foundation accreditation, we join over 16,000 employers in the UK who have committed to paying employees a fair rate calculated on the real cost of living. These certifications help us set a standard for ourselves, as well as for our partners and the industries we work with.

We recognise that certifications are more than accolades. They are also accountability measures, and a way to ensure that our commitment to accessibility, equity, and ethical business practices is not just stated, but measurable and evolves to continuously hold us to account. Gaining this accreditation is part of our ongoing work in developing and implementing specific policies that prioritise the financial, professional, and social well-being of our employees.

Pursuing our B-Corp certification in 2025, this Living Wage accreditation, builds on our dedication to creating a workplace where Disabled employees can thrive, and where our impact is rooted in sustainable, systemic change.

Read our Employer Profile on Living Wage

Recording of the panel discussion hosted by Charles Blow.

2024 Pilot Programme

Last year’s pilot programme supported five Disabled writers through a financed programme running from June to December. With access to industry leaders as mentors, skill-building workshops, and professional development opportunities, participants honed their craft in a space where access requirements were respected and creativity could flourish.

Participants engaged in a series of workshops and talks, including:

  • A deep dive into Disabled Representation on TV with Sam Tatlow, Head of Diversity, Equity and Inclusion at ITV
  • Script workshops with script consultant and producer, Philip Shelley
  • Feedback sessions with script editor Nadine Flynn
  • Masterclasses with Oscar-winning filmmakers Tom Berkeley and Ross White, and TV writer Peter McKenna
  • Industry insights from professionals such as talent manager and founder of 1IN4 Eryn Brown, and writer, actor and producer Kyla Harris
  • Advice and guidance from script and development executive, Hayley McKenzie, on the range of roles within scripted development and next steps to a screenwriting career

Each writer received a €2,000 bursary to support their progress in the programme, and also benefited from bespoke mentorship tailored to their development goals. This was impactful due to the explicit focus on assisting writers develop their careers with confidence. The mentors in the 2024 programme were:

  • Award-winning writer, director and producer from Dublin, Rioghnach Ní Ghrioghair
  • Theatre director and dramaturge, Lu Kemp
  • Producer, Shauna Shivers
  • Actor, screenwriter, and documentary filmmaker and playwright, John Connors
  • Screenwriter, television writer, and playwright, Michael Zam

Reflecting on her experience, 2024 Screen Stories participant Maura Campbell shared,

Screen Stories was a fantastic opportunity for me to develop my knowledge and skills as a screenwriter in an incredibly supportive environment, where access needs were fully respected and accommodated.

The programme culminated in a table read — bringing their stories to life with professional actors.

Looking Ahead to 2025

Following on from an initial, successful pilot in 2024, Screen Stories returns in 2025 — this time with a refined focus. We are proud to announce our open call for three new writers, who will be selected to undertake a six-month, feature film script development programme. From June to November 2025, participants will:

  • Develop one feature-length script
  • Receive one-to-one mentorship
  • Attend skill-building workshops and talks with leading industry professionals
  • Participate in a professional table read of their script
  • Receive a €2,000 bursary
  • Be supported through a delivery-model that is accessible by design

Our goal is not just to bring Disabled writers into the room — it’s to ensure they are leading the conversation. As Tilting the Lens’ founder and CEO, Sinéad Burke, explains:

This is about equity and excellence. We’re not simply mentoring writers; we’re helping to reshape the Irish film industry so that it finally reflects the diversity of its audiences.

Apply Now for 2025

Applications are open now until Monday, 26 May at 12 noon. The process has been carefully designed to be as accessible and equitable as possible. If you are a Disabled writer — or part of a co-writing team led by a Disabled creative — with a vision for a feature film, we particularly encourage you to apply.

Together with the National Talent Academies, we are committed to continuing this work: dismantling barriers, investing in talent, and amplifying Disabled creatives to tell the stories only they can.

For more information and to apply, visit the NTA website: NTA Screen Stories Information