This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.