Women Screenwriters

When screenwriter Maggie Holt is forced to collaborate with Hollywood’s golden boy, Aiden Brooks, her perfectly controlled life begins to unravel in the most unexpected way. She’s a plus-sized, fiercely talented woman who has spent years behind the scenes—writing everyone else’s happy endings but never daring to live her own. He’s the charming actor trying to prove there’s more to him than his movie-star smile. Their partnership is supposed to be temporary: rewrite the studio’s rom-com and move on. But between late-night script sessions, takeout-fueled debates, and stolen ...

Aerospace engineer Esther Abbott doesn't believe in love, but she's perfectly happy to hate her annoying screenwriter neighbor, Jonathan. Until she's forced to strike a devil's bargain with him: he distracts her best friend from a mouth-breather ex, and in return Esther will help him with the sci-fi script he's writing. Her patience is put to the test when it's time to fulfill her end of the deal. But the more time she spends with her nemesis, the more hate turns into attraction - and attraction into something much deeper.

Phantom Lady chronicles the untold story of Hollywood’s most powerful female writer-producer of the 1940s. In 1933 Joan Harrison was a 26-year-old former salesgirl with a dream of escaping her stodgy London suburb and the dreadful prospect of settling down with one of the local boys. A few short years later, she was Alfred Hitchcock’s confidante and the Oscar-nominated screenwriter of his first American film, Rebecca. Harrison had quickly grown from being the worst secretary Hitchcock ever had to one of his closest collaborators.