SHE Level 3
SCQF Credit Points 20.00
ECTS Credit Points 10.00
Module Code M3P322858
Module Leader n/a
School Glasgow School for Business and Society
Subject Media and Journalism
  • A (September start)

Pre-Requisite Knowledge

Successful completion of BAMN Introduction to Dramatic Writing Level 2, or equivalent.

Summary of Content

This module offers intermediate skills and understanding of the various forms of dramatic writing for students who have already have some knowledge and experience of Television, Film, Theatre and Radio drama. The course will equip the students to develop their drama writing skills and deepen their knowledge of each of the forms and a comparative study between them. Detailed script analyses, identifying and finding solutions for problems encountered in the production of scripts. Students will produce an authored script to broadcast or production standards. The module will engage with all the dramatic forms at intermediate level before concentrating at the end on television fiction writing.


-360b7 WEEK 1 Playwriting: the origins of drama and drama theory b7 WEEK 2 Dramatic Structure; structures that underlie all dramatic writing b7 WEEK 3 Character 1; Developing character-writing skills and methods b7 WEEK 4 Character 2; Creating characters together -360b7 WEEK 5 Stories and Plots 1; developing structure writing and methods b7 WEEK 6 Stories and Plots 2; creating stories together b7 WEEK 7 Guest speaker: theatre and radio b7 WEEK 8 Dramatic Dialogue: honing skills b7 WEEK 9 Subtext; intermediate study of use of subtext and its representation b7 WEEK 10 Guest speaker: Television b7 WEEK 11 Intermediate television fiction writing. Background. b7 WEEK 12 Conclusions, readings, and performances.

Learning Outcomes

1 Learning OutcomesOn successful completion of this module, the student should be able to:1 Demonstrate a broad and practical understanding of the various dramatic forms and the differences between them.2 Analyse and evaluate existing, peers', and students' own scripts constructively.3 Critically analyse, compare, contrast and evaluate ideas and issues in drama writing, including films, television drama, stageplays and radio plays.4 Produce a 20-25 minute script of television drama.

Teaching / Learning Strategy

-360 1. Intermediate lectures on the fundamental laws of dramatic writing and their application and modification for stageplays, screenplays and radio drama. 2. Writing workshops which develop script writing skills and script development processes . 3. Screenings and radio plays accompanied by the relevant script, preceded by lecturer introduction and followed by class discussion. 4. Peer-to-peer evaluation. 5. Directed group and individual writing. Industry speakers

Indicative Reading

-567 Books and articles: Key text: Parker, P. (1999) The Art and Science of Screenwriting. 2nd ed. Bristol: Intellect Other reading : Evans and Deehan (1988) The Keys to Creativity Atchity, K. and C. Wong (2003) , Writing Treatments That Sell: How to Create and Market Your Story Ideas to the Motion Picture andTV Industry (2nd ed.) Davis, R. (2008). Writing Dialogue for Scripts , 2nd edition, London: A & C Black. Douglas, P. (2007). Writing the TV Drama Series , Los Angeles: Michael Wiese Productions. Edwards, R. and M. Skerbelis (2005), 'I Liked It, Didn't Love It': Screenplay Development from the Inside Out Field, S. (2005), Screenplay: The Foundations of Screenwriting Friedmann, J. (2000), How to Make Money Scriptwriting (2nd rev.ed.). Froug, W. (1992), Screenwriting Tricks of the Trade Goldman, W. (1985), Adventures in the Screen Trade . Hague, M. (1989), Writing Screenplays that Sell . Halperin, M. (2004), Writing the Killer Treatment: Selling Your Story Without a Script Hiltunen, A., (2002), Aristotle in Hollywood: Visual Stories that Work Howard, D. and E. Mabley (1993), The Tools of Screenwriting . Kaplan, D.M. (1998), Rewriting: A Creative Approach to Writing Fiction Kennedy, J. (1994), Pocket Negotiator Kenning, J. (2006), How to Be Your Own Script Doctor Mamet, D. (1991), On Directing Film McKee, R. (1998), Story: Substance, Structure, Style and the Principles of Screenwriting Moritz, C. (2008). Scriptwriting for the Screen , 2nd edition, London: Routledge. Phillips, J., (2002), You'll Never Eat Lunch in This Town Again (rev. ed.) Seger, L., (1994), Making a Good Script Great (rev. 2nd ed.) Seger, L. and E.J. Whetmore (2003), From Script to Screen: The Collaborative Art of Filmmaking (2nd re. ed.) Singleton, R.S., (1996), Film Budgeting: Or How Much Will It Cost You to Shoot Your Movie ? Singleton, R.S., (1990), Film Scheduling / Film Budgeting Workbook Smethurst, W. (2007). How to Write for Television: A Guide to Writing and Selling Successful TV , 5th edition, London: How To Books. Storr, A., (1991), The Dynamics of Creation Vogler, C. (1994), The Writer's Journey Warshawski, M., (2003), Shaking the Money Tree: How to Get Grants and Donations for Film and Television (rev. 2nd ed.) Wolff, J. and K. Cox (1988), Successful Scriptwriting Electronic Databases LEXIS-NEXIS PROFESSIONAL BFI FILM AND TV DATABASE ( <> ) SHORT FILMS: FRIDGE: 1995: ANTONINE FILMS: WRITER/DIRECTOR - PETER MULLEN CRY FOR BOBO: 2001: FORGED FILMS LTD: WRITER/DIRECTOR - DAVID CAIRNS ALL OVER BRAZIL: 2003: POSH PICTURES: WRITER - JAMIE HAVLIN: DIRECTOR: DAVID ANDREW WARD BYE CHILD: 2003: POETRY IN MOTION: WRITER/DIRECTOR - BERNANRD MACLAVERTY DOG YEARS: 2005: OMINI PRODUCTIONS: WRITER - PENFOLD RICHARD: DIRECTOR: SAM MEARNS and RICHARD PENFOLD IS IT THE DESIGN ON THE WRAPPER?: 1997: SANKOFA FILMS: WRITER/DIRECTOR - TESSA SHERIDAN WINNING STREAK: 2005: FLETCHETTE: WRITER - JAMIE HAVLIN: DIRECTOR: MARC DE LAUNEY PAW: 2003: POSH PICTURES: WRITER - CHRIS BOWMAN: DIRECTOR - DUNCAN NICHOLL THE FALL OF SHUG MCCRACKEN: 2002: POSH PICTURES: WRITER - ROBBIE MCCALLUM: DIRECTOR - DAVID ANDREW WARD MARCIE'S DOWRY: 1999: PARALLEL PICTURES: WRITER - BILL CHAMBERLAIN: DIRECTOR - DAVID MACKENZIE NO MAN'S LAND: 2004: HOPSCOTCH FILMS: WRITER/DIRECTOR - CLARA GLYNN SCRIPTS All Over Brazil by Jamie Havlin Marcie's Dowry: by Bill Chamberlain Bye Child: by Bernard MacLaverty Cry For Bobo: by David Cairns Fridge: by Peter Mullen

Transferrable Skills

By the end of this module students will have gained competence in the following key areas: Creativity Analytical and evaluative skills Ability to reflect Self-confidence Awareness of strengths and weaknesses Independence Presentation skills Organizational skills

Module Structure

Activity Total Hours
Seminars 11.00
Assessment 8.00
Independent Learning Hours 148.00
Tutorials 11.00
Lectures 11.00
Practicals 11.00

Assessment Methods

Component Duration Weighting Threshold Description
Coursework 1 n/a 30.00 35% Week 7 Delivery of a treatment for a 30 minute television fiction script in any form (short film; extract from series, serial, feature)
Coursework 2 n/a 70.00 35% Delivery of a 30 minute television fiction script in any form (short film; extract from series, serial, feature)