screen education


writers submission, reference and style guide

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writers release form

arrowdownload the Word document (*.doc, 69KB)


ethics statement


  • Scope. We will endeavour to offer coverage of titles deemed most relevant and compelling for our readership – with additional consideration paid to writer expertise/availability, curriculum alignment and industry links. These factors will vary between Metro and Screen Education, but, ultimately, come down to both publications' shared advocacy for the educative potential of the moving image, via the medium of the written word.
  • Openness. Due to space limitations, we cannot ensure that all works will be given attention in our magazines' pages; however, we are always open to pitches and press material inviting us to cover a given title.
  • Authenticity and authority. Where appropriate, our editors will seek to commission writers with backgrounds and/or lived experiences that reflect the subject matter of the relevant title. At the same time, possession of a relevant background is not an absolute precondition; demonstrated expertise in film criticism is just as important.
  • Logistics. We commission on an on spec basis; this means that publication is not guaranteed and is subject to authors fulfilling our editorial standards. We have set deadlines per assignment, but they can be negotiated. We pay on publication (pay rates here).
  • Peer review. Articles undergo a thorough blind peer-review process on an opt-in basis. Referees can independently request changes to, or reject, submissions. Each magazine has an expansive cohort of referees (find Screen Education's list here).


  • Respect. We do not publish any material that is racist, sexist, homophobic, transphobic, classist, ableist or otherwise derogatory to any social group. Our editors stay abreast of, and implement, changes to linguistic best practice where minority groups have preferred protocols.
  • Criticism, not review or polemic. Metro and Screen Education are vehicles for analysis, not publicity or polemic; our focus, therefore, is not taste-based judgements, buzzword-y thumbs-up or -down, or unsubstantiated opinion. Rather, our pieces unpack a text and situate it within a broader societal, educational, artistic, industry and/or historical matrix.
  • Integrity and balance. We welcome negative evaluations of assigned titles so long as these are backed up with evidence – whether diegetic or extratextual – and framed as part of a constructive discussion. If tone interferes with impartiality, or if evaluation is overshadowed by mere fault-finding or empty praise, our editors will suggest alternative approaches.
  • Independence. While the editors work closely with distributors, media providers and filmmakers, coverage in the magazines is not influenced by them and is published without their prior approval. Moreover, while we work with affiliated parties in the sourcing of information and media material, we do not publish advertorials and the like, nor do we receive benefits in the form of kickbacks or in-kind support.
  • Accuracy. Each piece is thoroughly fact-checked by the target magazine's editor and subeditor; where statements of fact are not substantiated, relevant citations will be suggested or, if the editor/s cannot provide them, will be requested from the author. Speculation will only be accommodated if it can reasonably be corroborated with contextual details, and all measures will be taken to ensure that no defamatory material is published.


  • Involved editing. Metro and Screen Education proudly value the contribution of the editing process to the creation of a written work. Each magazine's editor is responsible for editing on substantive, structural and sentence levels, with the subeditor providing additional copyediting support. As part of this process, writers are often required to respond to queries relating to content, clarity or concision. We only undertake developmental editing under exceptional circumstances and do not offer feedback for rejected submissions. (Our style guide is available above.)
  • Tact and diplomacy. The editor of each magazine corresponds directly with their contributors at all stages of the production cycle – from pitches to editing to paperwork – at every point respecting the contributor's moral rights as creator of the written work and personal dignity. If any conflict arises, or if house protocol (e.g. deadlines) needs to be overridden in response to the writer's circumstances, all reasonable steps will be taken to ensure every party's considerations are addressed.
  • Integrity and approval. Writers are given the opportunity to sign off on their contribution at the end of the editing process. Layout/design and proofreading take place after this point at the full discretion of the magazines' editors and designers.
  • Mediation. The editors are the first points of contact for referees, media, filmmakers and industry bodies, and will mediate between those parties and the magazines' contributors.
  • Workplace relationships. The staff of Metro and Screen Education, along with their colleagues at ATOM, are committed to respectful, collaborative workplace dynamics. ATOM is an equal-opportunity employer that offers industry-standard remuneration and conditions, and does not tolerate bullying or harassment of any kind.