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BEST DRAMATIC WRITING PROMPTS

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Write about a character who sees a photo they shouldn’t have seen., write about someone who is convinced they’re going to be betrayed., set your story in a lighthouse surrounded by powerful gale-force winds., set your story during a month of drought — whether literal, or metaphorical., include in your story a scene about a family's last meal before a significant change..

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Start your story with someone saying “I can’t sleep.”

Write a story about a character who finds guidance in an unlikely place., write from the pov of a security guard on the night shift, sitting in front of a wall of cctv feeds., start or end your story with a character receiving a hug or words of comfort., write a story about a character who is trying to share groundbreaking news, but isn’t being taken seriously., subscribe to our prompts newsletter.

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Write a story about someone getting lost, but discovering something they didn’t expect along the way.

Set your entire story in a car., set your story in a rosy-pink world where everything is rainbows and unicorns… until it isn’t., make a character perform a ceremony to set something or someone free., write a story about someone seeking revenge for a past wrong., write about two friends who were once inseparable, but now find themselves growing apart — or even friends turned enemies., write about a character having a spiritual experience at a concert or a nightclub., write about a character unknowingly experiencing a “sliding doors” moment. write your story in two halves; what could have been, and what actually happened., write a story about someone who receives — or makes — a life-changing, anonymous donation., write a story inspired by the phrase “the plot thickens.”, win $250 in our short story competition 🏆.

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The best dramatic writing prompts

The term “dramatic” can feel fairly vague. In this case, we use the term to describe fiction that’s intense, powerful, and exciting. The protagonist can be a regular person, with a regular life — but drama somehow finds a way into their world. And while everyone has the capacity to be a little dramatic, sometimes as writers we’re still left with a blank page. If you’re suffering with writer’s block, we’re here to help. The Reedsy team has put together this list of creative writing prompts in the hopes of inspiring authors to write stories that leave readers wondering: what will happen next? 

Don’t feel too tied to one genre — these prompts are to give you ideas for dramatic stories, but don’t be afraid to introduce elements of other genres. A dramatic story can be tinged with fantasy, science fiction, horror, the supernatural, and so on. All it requires to make it dramatic is a healthy dose of conflict, and enough tension to keep readers wanting more. Other than that, there are no rules!

Here are our top ten dramatic writing prompts:

• “Stop!” you cried. But it was too late — the plan was already in motion.
• You're pretty sure you've never been this scared before. Then again, anyone would be in your position.
• You know a friend is hiding something and you need to find out what it is before it puts you in danger. How do you find out what their secret is?
• Write about someone who decides it’s time to cut ties with a family member.
• Write about a character discovering something new about their past that changes how they remember an important moment.
• Write a story that spans a month during which everything changes.
• Write a story about a teenager visiting the place where they grew up.
• After a friend or family member's funeral, you come home to a stranger on your doorstep, who tells you that they're not really dead.
• Two old friends meet to reminisce about old times and find out they have very different perspectives on a shared memory.
• Write a story about a character who is certain the world is going to end today.

If you’re interested in writing dramatic fiction, check out these relevant resources for even more tips.

• Character profile template (free resource)  — Drama stories are especially character driven. If you want to get into your protagonist's head and see through their eyes, you’re going to need to know them inside and out. That’s where character development tools like our character profile can help.
• How to Write Believable Dialogue that Develops Plot and Character (cree course)  — Dramatic fiction can be pretty literary, and often relies on razor-sharp dialogue to convey the story’s plot. Luckily, anyone can write amazing dialogue — just sign up for our free, ten day course on the subject!
• Story Structure: 7 Narrative Structures All Writers Should Know (blog post)  — Climax, denouement, resolution — if all these terms may as well be Greek to you, we’ve got you covered. Our story structure guide runs you through all the major story structures you could ever need, to provide a framework for your story to form around.

Want more help learning how to write a dramatic story? Check out  How to Write a Short Story That Gets Published  — a free, ten day course by Laura Mae Isaacman, a full-time editor who runs a book editing company in Brooklyn.

Ready to start writing? Check out Reedsy’s weekly  short story contest , for the chance of winning $250, plus potential publication in our literary magazine, Prompted ! You can also check out our list of  writing contests  or our directory of  literary magazines  for more opportunities to submit your story.

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Explore more writing prompt ideas:

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Dark Writing Prompts ⭢

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75 Drama Writing Prompts To Spice Up Your Script

It's time to tap into the human experience..

Little Children

The drama genre captures the essence of life's trials and triumphs, inviting audiences and readers alike into worlds both vastly different and strikingly similar to their own.

The following drama writing prompts are designed to ignite the imagination of writers.

Check them out below.

75 Drama Writing Prompts

Creating drama writing prompts can be an engaging way to inspire stories filled with conflict, emotion, and character growth. Here are 75 prompts designed to spark your creativity, whether you're writing a play, screenplay, novel, or short story:

• A character discovers a hidden letter revealing a family secret.
• Two strangers are the only survivors of a plane crash in a remote area.
• A young lawyer takes on a case that challenges their moral compass.
• A forbidden romance between members of rival families.
• An ambitious artist struggles to balance their passion with personal responsibilities.
• A whistleblower faces the consequences of exposing corruption in a powerful corporation.
• A time traveler tries to prevent a historical tragedy, but falls in love with someone from the past.
• A group of friends on a remote camping trip uncover something sinister.
• A detective becomes too emotionally involved in a case.
• An immigrant's journey to build a new life while facing prejudice.
• A soldier returning home struggles with PTSD and reintegrating into society.
• A family is torn apart by a will that reveals unexpected conditions and secrets.
• A couple's marriage is tested when one of them is diagnosed with a terminal illness.
• A community is shaken by a series of mysterious disappearances.
• An athlete faces a career-ending injury and must find a new path in life.
• A politician's career is threatened by a scandal from their past.
• A scientist makes a breakthrough discovery that challenges ethical boundaries.
• An undercover agent gets too close to the criminal organization they're infiltrating.
• A child prodigy wrestles with expectations and their own desires.
• A person gains the ability to hear others' thoughts, uncovering more than they bargained for.
• A parent and child reconcile after years of estrangement.
• A heist gone wrong forces criminals to confront their own morality.
• A celebrity's fall from grace and their journey to redemption.
• A young adult must choose between familial duty and personal dreams.
• An ancient curse haunts a family generation after generation.
• A character faces a moral dilemma after finding a bag of money.
• A betrayal among friends leads to a web of lies and revenge.
• A natural disaster traps a group of characters, revealing their true selves.
• An aging athlete attempts a comeback against all odds.
• A character is accused of a crime they didn't commit.
• A couple adopting a child faces unexpected challenges.
• A rivalry between two chefs in a high-stakes culinary competition.
• A survivor of a cult struggles to adjust to normal life.
• A character receives a heart transplant and begins to take on the traits of the donor.
• An actor's obsession with a role leads to blurred lines between fiction and reality.
• A character embarks on a quest to find a lost parent.
• A dystopian society where emotions are forbidden.
• A small town's dark secrets are uncovered by a new arrival.
• A character must navigate the dangerous world of organized crime to protect their family.
• A magical realism story where a character can see the future but cannot change it.
• A journalist fights to expose the truth in a corrupt society.
• A character struggles with addiction and the journey to recovery.
• A forbidden love story set in a futuristic society.
• A story of survival in a post-apocalyptic world.
• A family's generational curse comes to a head with the youngest member.
• A character's life changes after swapping bodies with a stranger.
• A person tries to rebuild their life after losing everything.
• A tale of revenge between two powerful families.
• A character discovers they are part of a government experiment.
• A love triangle with a supernatural twist.
• An artist finds a mysterious painting that holds the key to their past.
• A character must choose between love and duty.
• A story exploring the complexities of identity and gender.
• A group of survivors on a deserted island uncover a mystery.
• A ghost seeking to resolve unfinished business in the living world.
• A political thriller set in a volatile regime.
• A character becomes entangled in the world of espionage.
• A forbidden relationship challenges societal norms.
• A family is haunted by a tragic event from their past.
• A story of redemption for a character who has lost their way.
• A rivalry between two magicians becomes dangerously intense.
• A journey through a fantastical land to break a curse.
• A character must save their sibling from a cult.
• A prophecy foretells a great calamity, and characters must prevent it.
• A story of friendship tested by a moral dilemma.
• An exploration of the impact of technology on human relationships.
• A character is forced to confront their past when an old friend reappears.
• A rivalry turns into an unexpected partnership to overcome a common enemy.
• A person must navigate the complexities of a polyamorous relationship.
• A character's ability to manipulate dreams becomes a curse.
• A small town detective uncovers a national conspiracy.
• A character is reincarnated with memories of their past life, affecting their present.
• A historical drama about a revolution that changes the fate of a nation.
• A character faces discrimination while trying to reveal their true identity.
• A tale of sacrifice, where a character must give up something precious for the greater good.

These prompts can serve as a foundation for stories that explore deep emotional truths, challenge societal norms, and capture the complexities of the human condition.

Feel free to adapt and combine prompts to create unique and compelling narratives.

Now, go get writing before your estranged uncle reveals a tragic secret about your family heritage.

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How AI Was Used to Mix Anya Taylor-Joy’s Face with a Child Actor in ‘Furiosa’

Taylor-joy shares details about how ai was used in her recent mad max film and its “frightening” potential ramifications for the future..

If you saw the new Furiosa: A Mad Max Saga film in theaters and also thought to yourself, “Man, they did a great job of casting the child actor playing the younger version of Anya Taylor-Joy’s character Furiosa because she looks almost just like her.” Well, we have some interesting news to share with you.

Alyla Browne plays the younger Furiosa in the film and we actually see her at what is supposed to be a couple of different ages, and while Browne does resemble Taylor-Joy quite a bit indeed, Taylor-Joy has revealed in an interview on The Kelly Clarkson Show that George Miller and the Furiosa team used AI to blend Taylor-Joy’s face with Browne’s own to make the resemblance even more pronounced.

Taylor-Joy goes on to share that AI was also used in Fury Road and her thoughts on the use of AI in film which can be “frightening” when not consensual. Let’s explore.

AI in Furiosa: A Mad Max Saga

In a film, and with a filmmaker, so highly regarded for its use of practical effects and stunts, it’s a bit odd to hear that Furiosa (and Fury Road even) used AI as part of its process. Of course, though it would make sense that everything you see on the screen wasn’t shot in-camera as that’s incredibly rare and hard to do these days.

Furiosa most certainly used plenty of visual effects and other digital VFX for large parts of its productions. Which, when done as well as in Furiosa and Fury Road, these VFX can very much be an additive part of the filmmaking process when combined with the very real stunts and stunt performers' performances.

Using AI to Mix Actors’ Faces Together

Still, it’s a bit shocking to hear the news that AI was used in both films with Taylor-Joy sharing details about how wild it was to see in the final product.

“George Miller had the idea very early on. The audience was already getting used to a new Furiosa [Charlize Theron in ‘Fury Road’]. He wanted the transition from both actors [Browne and Taylor-Joy] playing her to be seamless. And so I did two days of the craziest things you could ever possibly imagine. And they mixed our faces together.” — Taylor-Joy in an interview on “The Kelly Clarkson Show.”

The discussion revealed that most of the AI use had to do with Browne’s portrayal of young Furiosa with it being about a “35 percent mix” of Taylor-Joy’s face on Browne’s at one point in the film, then roughly “80%” later when the character is older and about to be replaced with Taylor-Joy on the screen.

Alyla Browne as the younger Furiosa

Warner Bros.

Consent and the Ethics of AI

Taylor-Joy would go on in the interview to acknowledge the many legal and ethical issues that come with the use of AI in film and television, as well as her support for the many AI-adjacent causes which she and her constituents went on strike for in the SAG-AFTRA and WGA strikes.

However, it’s perhaps most important to note that Taylor-Joy summed up her thoughts by sharing that she does feel that “it is frightening, and I think if you’re going to use it you have to be honest about it and it always has to be consensual. It’s the lack of consent in anything in life that is the scary thing.”

This seems to indicate that the use of AI in blending the actors’ faces together was the predominant use of AI in the film and that everything was agreed to beforehand by all parties (and, again assuming, their representatives).

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Drama and Creative Writing

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Here's what you need in order to apply:

• Royal Holloway's institution code: R72

Make a note of the UCAS code for the course you want to apply for:

• Drama and Creative Writing BA - WW48
• Click on the link below to apply via the UCAS website:

Key information

Duration: 3 years full time

UCAS code: WW48

Institution code: R72

Campus: Egham

Drama and Creative Writing (BA)

By combining the study of Creative Writing with Drama, you'll gain a deeper understanding of how theatre performance and creative writing interact - whether you specialise as a playwright, or choose to take the poetry or fiction options in creative writing.

Choosing to study Drama at Royal Holloway will put you at the centre of one of the largest and most influential Drama and Theatre departments in the world. You'll create performances, analyse texts, and bring a range of critical ideas to bear on both. On this course the text and the body, thinking and doing, work together. There's no barrier between theory and practice: theory helps you understand and make the most of practice, while practice sheds light on theory.  By moving between the two, you'll find your place as an informed theatre-maker, and by studying a variety of practices, by yourself and with others, you'll get knowledge of the industry as a whole, and learn how your interests could fit into the bigger picture.

We are top-rated for teaching and research, with a campus community recognised for its creativity. Our staff cover a huge range of theatre and performance studies, but we're particularly strong in contemporary British theatre, international and intercultural performance, theatre history, dance and physical theatre, and contemporary performance practices.

Studying Creative Writing at one of the UK's most dynamic English departments will challenge you to develop your own critical faculties. Learning to write creatively, you'll develop your own writing practice.

Course units are taught by nationally and internationally known scholars, authors, playwrights and poets who are specialists in their fields who write ground-breaking books, talk or write in the national media and appear at literary festivals around the world.

• Complementary disciplines for the aspiring playwright.
• Explore creative skills including dance or puppetry.
• Assessment through performance and coursework.
• Specialise in different literary forms: poetry, playwriting or fiction.
• Build a portfolio, creating, critiquing and shaping your own artistic work.

From time to time, we make changes to our courses to improve the student and learning experience. If we make a significant change to your chosen course, we’ll let you know as soon as possible.

Course structure

Core modules.

You will take the following modules in Drama:

• Theatre and Performance Making 1
• Theatre and Text 1

You will take the following modules in Creative Writing:

In this module you will develop an understanding of a range of literary and cultural writing forms through reading, discussion and practice. You will look at poetry, drama and prose fiction alongside stand-up comedy, adaptation, translation, songwriting, and other forms of creative expression and articulation. You will learn how to offer clear, constructive, sensitive critical appraisals, and how to accept and appropriately value criticism of your own work.

In this module you will develop an understanding of a range historical perspectives on the function, forms, and value of creative writing. You will look at the genesis of particular genres, such as the short story, the novel and the manifesto, and consider relationships between historical genres and the contemporary writer. You will interrogate your own assumptions about creative writing and critically examine the relationship between creative writing and society.

 You will take two from the following modules in Creative Writing:

• Playwriting

You will choose one of the following modules. Each of these modules consists of a year-long independent project, working closely with a staff supervisor from the appropriate field.

• Playwriting 2

 You will take the following module in Creative Writing:

This module concentrates on a particular mode of writing, genre, theme, issue or idea. You will be encouraged to make creative work in relation to the focus, and develop your writing practice in relation to wider contexts relevant to the contemporary writer.

Creative Writing Special Focus courses are open to both creative writing and non-creative writing students.

Optional Modules

There are a number of optional course modules available during your degree studies. The following is a selection of optional course modules that are likely to be available. Please note that although the College will keep changes to a minimum, new modules may be offered or existing modules may be withdrawn, for example, in response to a change in staff. Applicants will be informed if any significant changes need to be made.

• All modules are core

Optional modules in Drama may include:

In this module you will develop an understanding of non-traditional approaches to performance making that constitute the broader term ‘devised’ practice. You will look at methods of engaging with contemporary life, focussing on a number of key areas of devised practice, including their contexts, forms, and modes of documentation. You will consider the generative roles played by autobiography, the body, political activism and everyday life and use theoretical and practical research to develop your own performance pieces.

In this module you will develop an understanding of the methods of theatre directing. You will look at the role of the director from preparing a play text to staging a successful production, considering the collaborations between actors, designers, playwrights and producers. You will exmaine a variety of approaches to classic texts and new writing, and hone your skills by directing your peers in short scenes from a play of your choice.

In this module you will develop an understanding of the difference between stage acting and acting for camera. You will learn techniques for 'translating' your stage acting skills to mediated performance. You will collaborate through the year with directing students in the Department of Media Arts on an internal monologue film, a silent film, and a short scene, and these can later be used as part of an audition reel.

In this module you will develop an understanding of a range of theatre forms that integrate dance and drama. You will look at the variety of ways that practitioners have chosen to bring text and movement into creative dialogue, using scores, play texts, choreography and movement processes. You will examine the values and principles that drive such experimentation and reflect on the historical, political and cultural contexts within which these practitioners worked. You will consider the work of practitioners such as Pina Bausch, DV8, Frantic Assembly, Complicite, Caryl Churchill and Martin Crimp, and develop a small group performance devised in response to selected texts and styles of movement/dance.

In this module you will develop an understanding of the role of spatial design in a performance context. You will look at how designers respond to and make space for theatre to happen, and through the study of visual composition and visual langauge, will explore the role of spatial design in a performance context. You will consider the the work of a variety of practitioners and will test out your design ideas in a series of practical and performance workshops focusing on textual analysis, space and place, object, performer and the spectator.

In this module you will develop an understanding of how theatre practitioners have frequently sought to represent social reality in order to critique it. You will look at the naturalist stage of the late nineteenth century through to contemporary verbatim performance, and explore the methods and implications of theatre’s 'reality-effects'. You will consider why so many theatre companies and practitioners in the twenty-first century have turned to documentary, tribunal, verbatim and other forms of reality-based performance, and examine a range of contemporary plays and performance texts from around the world, building an awareness of the politics, possibilities and limitations of 'staging the real'.

In this module you will look at the work of debbie tucker green, one of the most exciting black playwrights of the early twenty first century, who's critical acclaim has recognised her original experimental linguistic virtuosity. You will explore the the performance possibilities of her playtexts, considering writing form alongside the topical social and political human rights issues she portrays, such as genocide, urban teenage violence, sex tourism and mental health. You will consider tucker green’s impact as a black British woman playwright by situating her plays in relation to trends in plays by other contemporary black British women playwrights, and examine her work within the context of 21st Century black British new writing.

In this module you will develop an understanding of the wide-ranging discussions of ecology and environmentalism in Shakespeare's plays. You will look at the relations between humans and the natural world, and consider contemporary environmental debates and theatre practices. Guest speakers, such as David Haygarth, Head of Energy and Sustainability at Royal Holloway, will address scientific and commercial topics such as the UN 15 sustainable development goals, and the Caryl Churchill Theatre’s green credentials. You will explore a range of plays by Shakespeare which stage the natural world, including A Midsummer Night’s Dream, As You Like It, King Lear, and The Merry Wives of Windsor. You will also examine how environmentalism can impact both theatre and Shakespeare in performance.

In this module you will develop an understanding of children's theatre and the current success of theatre for young audiences. You will look at the innovative performance styles of theatre companies such as Oily Cart and Theatre-rites, and consider how their work has been pushing the boundaries of contemporary theatre. You will examine the Unicorn theatre, the first purpose-built theatre for children in London; playwrights such as Charles Way, Philip Ridley, Neil Duffield, Mark Ravenhill and David Greig; and the work of theatremakers such as Mark Storor and Sue Buckmaster, who bring a blend of visual art, puppetry and live art to performances for children. You will critically analyse how performance installations can excite children’s imaginations, focusing on the visual, tactile and aural elements of theatre and performance.

In this module you will develop an understanding of the diverse art forms that investigate memory in dynamic conversation and the nature of art, history, and humanity. You will look at the disruption to the purpose, value, and nature of art in the aftermath of the cataclysmic events of the Holocaust, and move through the twentieth century to consider different cultures of memory, memorialisation, trauma, and witnessing. You will examine a wide range of cultural textual and performative genres, including first-hand testimony, plays, films, graphic novels, museums, and public monuments.

In this module you will develop an embodied understanding of culture. You will look at different cultural contexts for dance production, considering the context of where, when and how you dance. You will examine the cultural production and consumption of dance, exploring theories grounded in cultural studies and their implications on dance and dancing bodies, such as Marxism, post-modernism, feminism, post-structuralism, post-colonialism, gender and sexuality, and psychoanalysis. You will focus on popular dance, global popular culture, and dance on screen, and investigate the relationship between dance practices and the social, political and economic context in which they emerge. You will be encouraged to devise performances which creatively engage with cultural studies.

• Theatre and Ideas: Ideas of Gender and Sexuality
• Theatre and Ideas: The Idea of Tragedy
• Theatre and Ideas: The Idea of Adaptation
• Theatre and Ideas: The Idea of the Musical
• Theatre and Ideas: The Idea of Acting
• Theatre and Ideas: The Idea of Money
• Theatre and Ideas: The Idea of Casting
• Love, Gender and Sexuality
• Race Relations in Theatre, Film and Television
• Shakespeare
• Naturalist Theatre in Context
• Creative Learning and Theatre
• Physical Theatre
• Shakespeare on Camera
• The Actor's Voice
• Actor Training in a Globalised World
• Group Project
• Final Year Project - Special Study
• Final Year Project - Dissertation
• Taught Dissertation

Teaching & assessment

Each year, you'll take two modules in each subject. Drama explores a whole range of dramatic and theatrical forms, conventions, periods, traditions and activities. You'll learn how to get intellectual ideas across in presentations and through performance. You'll also learn to work well in teams. In your first year, a foundation course, you'll get a grounding in contemporary theatremaking and critical theories. In your second and final years, you'll study alongside single honours students, taking half of your modules in Drama.

In your first year of Creative Writing, you'll take two introductory modules, before going on in your second year to specialise in two literary forms. In your final year, you'll wrap up by taking one of those forms to honours level.

The course has a flexible structure: students take twelve course units, four per year. Some are compulsory, and others you can choose. In your second and third years, you'll make up the marks that count for your final degree award. You'll also take a study skills course during your first year, to equip you with writing skills to make your degree count. This course won't count towards your final degree, but you'll need to take it to pass on to second year.

You'll be assessed through examinations, essays, seminar presentations, practical assignments and creative portfolios. In Drama modules, you'll often be assessed as part of a group.

Entry requirements

A levels: aaa-aab.

Required subjects:

• A in an essay-based Arts and Humanities subject at A-Level
• At least five GCSEs at grade A*-C or 9-4 including Maths and English.

Where an applicant is taking the EPQ alongside A-levels, the EPQ will be taken into consideration and result in lower A-level grades being required. For students who are from backgrounds or personal circumstances that mean they are generally less likely to go to university, you may be eligible for an alternative lower offer. Follow the link to learn more about our  contextual offers.

We accept T-levels for admission to our undergraduate courses, with the following grades regarded as equivalent to our standard A-level requirements:

• AAA* – Distinction (A* on the core and distinction in the occupational specialism)
• AAA – Distinction
• BBB – Merit
• CCC – Pass (C or above on the core)
• DDD – Pass (D or E on the core)

Where a course specifies subject-specific requirements at A-level, T-level applicants are likely to be asked to offer this A-level alongside their T-level studies.

English language requirements

All teaching at Royal Holloway (apart from some language courses) is in English. You will therefore need to have good enough written and spoken English to cope with your studies right from the start of your course.

The scores we require

• IELTS: 7.0 overall. Writing 7.0. No other subscore lower than 5.5.
• Pearson Test of English: 69 overall. Writing 69. No other subscore lower than 51.
• Trinity College London Integrated Skills in English (ISE): ISE IV.
• Cambridge English: Advanced (CAE) grade C.

Country-specific requirements

For more information about country-specific entry requirements for your country please visit here .

Undergraduate preparation programme

For international students who do not meet the direct entry requirements, for this undergraduate degree, the Royal Holloway International Study Centre offers an International Foundation Year programme designed to develop your academic and English language skills.

Upon successful completion, you can progress to this degree at Royal Holloway, University of London.

There are plenty of performance opportunities to get stuck into while you're here, and they'll stand you in good stead when you graduate. You'll be familiar and confident in performance situations (skills which are vital for leading meetings and make you viable for visible leadership roles). You'll come off as credible and composed. You'll also walk away with considerable experience of technical, intellectual, imaginative, and practical skills, valued by most employers. Aside from these performance skills, you'll also get skills in research and project management from the academic side of the course. 

Our industry links mean you'll be able to pursue work experience with theatres and creative arts agencies. Recent graduates in the Department of Drama & Theatre have gone into careers in acting, writing, broadcasting (including at the BBC), literary agency, arts management, sound design, marketing/PR, teaching and community theatre work, as well as postgraduate study in different fields. Lots of our graduates also start their own performing arts companies. Find out more about what our graduates are doing now.

Fees, funding & scholarships

Home (UK) students tuition fee per year*: £9,250

EU and international students tuition fee per year**: £23,800

Other essential costs***: There are no single associated costs with studying this course greater than £50 per item. It is a requirement to purchase a pair of safety boots in the first year, for which a range of cost options are available. Ticket costs for mandatory theatre trips are capped at £10.

How do I pay for it? Find out more about  funding options , including  loans , scholarships and bursaries . UK students who have already taken out a tuition fee loan for undergraduate study should  check their eligibility  for additional funding directly with the relevant awards body.

**The tuition fee for UK undergraduates is controlled by Government regulations. The fee for the academic year 2024/25 is £9,250 and is provided here as a guide. The fee for UK undergraduates starting in 2025/26 has not yet been set, but will be advertised here once confirmed.

**This figure is the fee for EU and international students starting a degree in the academic year 2024/25, and is included as a guide only. The fee for EU and international students starting a degree in 2025/26 has not yet been set, but will be advertised here once confirmed.

Royal Holloway reserves the right to increase tuition fees annually for overseas fee-paying students. Please be aware that tuition fees can rise during your degree. The upper limit of any such annual rise has not yet been set for courses starting in 2025/26 but will be advertised here once confirmed.  For further information see  fees and funding  and the  terms and conditions .

***These estimated costs relate to studying this specific degree at Royal Holloway during the 2024/25 academic year, and are included as a guide. General costs, such as accommodation, food, books and other learning materials and printing etc., have not been included.

Drama, Theatre and Dance Undergraduate Admissions

Admissions office: +44 (0)1784 414944

Source: QS World University Rankings by Subject, 2023 (Drama, Theatre and Dance)

Source: Complete University Guide, 2024 (Drama, Theatre and Dance)

Source: Times and Sunday Times Good University Guide, 2024

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There are lots of exciting ways to get involved at Royal Holloway. Discover new interests and enjoy existing ones.

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Whether you need support with your health or practical advice on budgeting or finding part-time work, we can help.

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Research Excellence Framework

Find out why Royal Holloway is in the top 25% of UK universities for research rated ‘world-leading’ or ‘internationally excellent’.

Challenge-led research themes

Royal Holloway is a research intensive university and our academics collaborate across disciplines to achieve excellence.

Discover world-class research at Royal Holloway.

Discover more about who we are today, and our vision for the future.

Royal Holloway began as two pioneering colleges for the education of women in the 19th century, and their spirit lives on today.

We’ve played a role in thousands of careers, some of them particularly remarkable.

Find about our decision-making processes and the people who lead and manage Royal Holloway today.

ENG 125 & 126 - Creative Writing: Drama

• Short Fiction
• Long Fiction
• Non-fiction
• Research Process

Drama Defined

Definition:  A prose or verse composition, especially one telling a serious story, that is intended for representation by actors impersonating the characters and performing the dialogue and action.

Elements:  

• Structure -- This deals with how to setup the beginning, middle and end of a play and is even more crucial in drama than any other genre of writing.
• Characters -- People will act out the story on stage. Characters should be well-developed and not appear as stereotypes.
• Dialogue -- This is crucial in plays because everything happens through the spoken word.
• Theme -- Plays often deal with universal themes which encourage discussion of ideas. 
• Production -- Costumes, props and lighting are some of the necessary items for putting on a play.

Find Plays & Criticism

Video Searching

Library collections (dvd & videotape):.

Search our Card Catalog to find videos housed in the Library-IC collection.

Audiovisual Search:

Streaming Media

Featured Drama

• << Previous: Poetry
• Next: Research Process >>
• Last Updated: Apr 12, 2024 2:50 PM
• URL: https://libguides.rccc.edu/creative

• Literary Terms

When & How to Write Drama

• Definition & Examples
• When & How to Write Drama

How to Write Drama

• Start with characters . The best dramas are usually character- driven. They have a cast of main characters (usually fewer than 10), plus a handful of supporting characters. These characters should all be very distinct from one another, and the main characters should be authentic and life-like. This way, the audience can relate to them and cares what happens to them.
• Introduce conflict. All stories revolve around conflict, and this is especially true in drama. The conflict could be anything – the simplest example is political conflict or war, but you might also have competing love interests, clashes in personality, or simply a struggle against misfortune.
• Don’t forget about comic relief. Unless you’re writing a tragedy (see section 6), there should be at least some amount of humor in your drama. Otherwise, the negative emotions will get overwhelming and the experience will be too unpleasant for the reader. Give a few funny lines to your characters, or add an amusing situation somewhere to cut the tension – just make sure that this comic relief arises naturally from the story and it doesn’t feel like you’re cramming it in.

When to Use Drama

Drama is great for a creative writing project. It offers opportunities to work on character development, story structure, and a whole other set of writing skills. Every once in a while, you may also find a place for drama in formal essays , but you have to be careful.

For example, history essays are often more enjoyable to read if you craft them with a “dramatic” eye – focusing on a small set of main characters, contrasting these characters and their various desires, and fully describing the conflict at the center of the story. These techniques, in combination with good research and persuasive logic, can turn a good essay into a great one. However, you do have to be careful – too much drama in a formal essay can start to seem distracting, and you don’t want to give the impression that you’re more committed to the entertainment value than to the research and analysis.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

• Academics /

Creative Writing and Literature Master’s Degree Program

Unlock your creative potential and hone your unique voice.

Online Courses

11 out of 12 total courses

On-Campus Experience

One 1- or 3-week residency in summer

$3,220 per course

Program Overview

Through the master’s degree in creative writing and literature, you’ll hone your skills as a storyteller — crafting publishable original scripts, novels, and stories.

In small, workshop-style classes, you’ll master key elements of narrative craft, including characterization, story and plot structure, point of view, dialogue, and description. And you’ll learn to approach literary works as both a writer and scholar by developing skills in critical analysis.

Program Benefits

Instructors who are published authors of drama, fiction, and nonfiction

A community of writers who support your growth in live online classes

Writer's residency with agent & editor networking opportunities

Personalized academic and career advising

Thesis or capstone options that lead to publishable creative work

Harvard Alumni Association membership upon graduation

Customizable Course Curriculum

As you work through the program’s courses, you’ll enhance your creative writing skills and knowledge of literary concepts and strategies. You’ll practice the art of revision to hone your voice as a writer in courses like Writing the Short Personal Essay and Writing Flash Fiction.

Within the creative writing and literature program, you will choose between a thesis or capstone track. You’ll also experience the convenience of online learning and the immersive benefits of learning in person.

11 Online Courses

• Primarily synchronous
• Fall, spring, January, and summer options

Writers’ Residency

A 1- or 3-week summer master class taught by a notable instructor, followed by an agents-and-editors weekend

Thesis or Capstone Track

• Thesis: features a 9-month independent creative project with a faculty advisor
• Capstone: includes crafting a fiction or nonfiction manuscript in a classroom community

The path to your degree begins before you apply to the program.

First, you’ll register for and complete 2 required courses, earning at least a B in each. These foundational courses are investments in your studies and count toward your degree, helping ensure success in the program.

Getting Started

We invite you to explore degree requirements, confirm your initial eligibility, and learn more about our unique “earn your way in” admissions process.

A Faculty of Creative Writing Experts

Studying at Harvard Extension School means learning from the world’s best. Our instructors are renowned academics in literary analysis, storytelling, manuscript writing, and more. They bring a genuine passion for teaching, with students giving our faculty an average rating of 4.7 out of 5.

Bryan Delaney

Playwright and Screenwriter

Talaya Adrienne Delaney

Lecturer in Extension, Harvard University

Elisabeth Sharp McKetta

Our community at a glance.

80% of our creative writing and literature students are enrolled in our master’s degree program for either personal enrichment or to make a career change. Most (74%) are employed full time while pursuing their degree and work across a variety of industries.

Download: Creative Writing & Literature Master's Degree Fact Sheet

Average Age

Course Taken Each Semester

Work Full Time

Would Recommend the Program

Professional Experience in the Field

Pursued for Personal Enrichment

Career Opportunities & Alumni Outcomes

Graduates of our Creative Writing and Literature Master’s Program have writing, research, and communication jobs in the fields of publishing, advertising/marketing, fundraising, secondary and higher education, and more.

Some alumni continue their educational journeys and pursue further studies in other nationally ranked degree programs, including those at Boston University, Brandeis University, University of Pennsylvania, and Cambridge University.

Our alumni hold titles as:

• Marketing Manager
• Director of Publishing
• Senior Research Writer

Our alumni work at a variety of leading organizations, including:

• Little, Brown & Company
• New York University (NYU)
• Bentley Publishers

Career Advising and Mentorship

Whatever your career goals, we’re here to support you. Harvard’s Mignone Center for Career Success offers career advising, employment opportunities, Harvard alumni mentor connections, and career fairs like the annual on-campus Harvard Humanities, Media, Marketing, and Creative Careers Expo.

Your Harvard University Degree

Upon successful completion of the required curriculum, you will earn the Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature.

Expand Your Connections: the Harvard Alumni Network

As a graduate, you’ll become a member of the worldwide Harvard Alumni Association (400,000+ members) and Harvard Extension Alumni Association (29,000+ members).

Harvard is closer than one might think. You can be anywhere and still be part of this world.

Tuition & Financial Aid

Affordability is core to our mission. When compared to our continuing education peers, it’s a fraction of the cost.

After admission, you may qualify for financial aid . Typically, eligible students receive grant funds to cover a portion of tuition costs each term, in addition to federal financial aid options.

What can you do with a master’s degree in creative writing and literature?

A master’s degree in creative writing and literature prepares you for a variety of career paths in writing, literature, and communication — it’s up to you to decide where your interests will take you.

You could become a professional writer, editor, literary agent, marketing copywriter, or communications specialist.

You could also go the academic route and bring your knowledge to the classroom to teach creative writing or literature courses.

Is a degree in creative writing and literature worth it?

The value you find in our Creative Writing and Literature Master’s Degree Program will depend on your unique goals, interests, and circumstances.

The curriculum provides a range of courses that allow you to graduate with knowledge and skills transferable to various industries and careers.

How long does completing the creative writing and literature graduate program take?

Program length is ordinarily anywhere between 2 and 5 years. It depends on your preferred pace and the number of courses you want to take each semester.

For an accelerated journey, we offer year round study, where you can take courses in fall, January, spring, and summer.

While we don’t require you to register for a certain number of courses each semester, you cannot take longer than 5 years to complete the degree.

What skills do you need prior to applying for the creative writing and literature degree program?

Harvard Extension School does not require any specific skills prior to applying, but in general, it’s helpful to have solid reading, writing, communication, and critical thinking skills if you are considering a creative writing and literature master’s degree.

Initial eligibility requirements can be found on our creative writing and literature master’s degree requirements page .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

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Thank you for considering an application

To apply you’ll need to:

• Make note of the Queen Mary institution code: Q50

Drama with Creative Writing

• WW44 — BA (Hons)
• WW45 — BA (Hons) with Year Abroad
• Click on the link below: Apply on UCAS

Have further questions? How to apply | Entry requirements

2 study options

Drama with creative writing ba (hons), key information, drama with creative writing with year abroad ba (hons), year abroad cost.

Finances for studying abroad on exchange

Entry requirements

About the school.

Study Drama and Creative Writing in this boundary-breaking course

Our BA in Drama with Creative Writing will give you a sound knowledge base in Drama along with the skills and tools needed to develop into a writer. In the Drama part of the course, you will gain a deeper understanding of theatre and performance in a variety of cultures and historical periods, and across a wide range of forms - from plays to experimental perfromance to applied theatre, and more. 

The Creative Writing section of the course is designed to develop practical writing skills and techniques, and to give you an insight into the process of writing. You will have the opportunity to grow and flourish as a writer, whether in prose fiction, poetry, drama, film or creative non-fiction. You will be taught by some of the world's leading academics and artists, who will help you develop into informed critics, performance makers and writers.     

Register your interest

The programme capitalises on London’s outstanding theatre and performance resources and, particularly, Drama's links with a variety of theatre and other cultural organisations including Artangel, Barbican, Live Art Development Agency, National Theatre, People’s Palace Projects, Project Phakama, Shakespeare’s Globe, and more.  It also draws on London's rich writing, publishing and media cultures.  These links often bring artists, writers, administrators, managers and other professionals into the programme as guest speakers, workshop leaders and performers. They also facilitate students' participation in the wider cultural sector, and will form the basis for the further development of work-specific learning opportunities.

Year 1 provides an introduction to the study of drama, performance and creative writing. which combines both practical and theoretical approaches. Modules in Year 1 have a strong emphasis on the acquisition of practical (including writing) and research skills that you will use throughout your  programme. You will also have the opportunity in Year 1 to explore key practical and theoretical issues around the making of performance. You will take the following modules (all compulsory)

• Power Plays (15 credits)
• Making Theatre and Performance (30 credits)
• Introduction to Creative Writing (30 credits)
• Beyond Acting (30 credits)
• Spectatorship: Time, Place, Performance  (15 credits)

Please note that all modules are subject to change.

You will take the following three compulsory modules :

• Group Practical Project (30 credits)
• Creative Writing Prose (15 credits)
• Creative Writing Playwriting (15 credits)

You then choose two seminar-based modules and one practice-based module from a range of Drama options that change each year. Modules may include:

• Action Design
• Art and the Climate Crisis
• Culture, Power and Performance
• London Performance Now
• Making Contemporary Theatre
• Performance and Visual Culture in South Asia
• Race and Racism in Performance
• Theatre, Experiment and Revolution
• Voice, Gender, Performance

You will choose one from

• DRA329 Written Research Project (30 credits)
• ESH6199 Creative Writing Dissertation (30 credits)

You then choose a further 30 credits of Creative Writing modules from a range of options that change each year. Modules may include:

• Creative Writing and Performance
• Creative Writing Nonfiction: Illness and Experience
• Writing About the Arts
• Creative Writing Advanced Poetry: the Poetics of Translation

You then choose two  seminar-based modules and one practice-based module from a range of Drama options that change each year. Modules may include:

• Culture, Performance and Globalisation
• Drama and Education
• Live Art: Then and Now
• Madness and Theatricality
• Making Site-Specific Performance
• Offstage London
• Performance and Celebrity
• Performance Composition
• Showbusiness: Theatre and Capitalism
• Staging Selfies: Performance and Social Media
• Theatre and the Supernatural
• Verbatim, Testimonial and Tribunal
• Writing about the Arts

I have really enjoyed learning about the more theoretical aspects of drama, as a practice and as a 'theory'. My favourite module so far was London, Culture, Performance. Understanding the impact of performances, theatres and wider impact that they have was incredibly interesting and insightful and left me with a lot to consider. Emma Howes - BA Film Studies and Drama 2021

Teaching and learning

You’ll usually attend at least eight hours of classes weekly, mainly in the form of seminars, creative writing workshops and studio-based workshops. Practice-based modules include additional scheduled studio time weekly for student-led practice. Some modules also include tutorials and field trips.

For every hour spent in class, you'll complete approximately three to four further hours of independent study preparing for classes and assignments.

Assessment typically includes a combination of written and practical assignments, such as essays, performances, presentations, portfolios, scripts, programme notes, reviews, feature articles, artist websites, podcasts and dissertations. Some assessment is based around group work, especially for performance projects and presentations.

Resources and facilities

The School offers on-campus resources to support your studies, including:

• BLOC - Film & Drama Practice research facility at QMUL 
• three rehearsal spaces
• the Pinter Studio
• motion capture equipment, allowing students to explore innovative practices with new technology and film
• opportunities to meet visiting experts including artists, directors, producers, playwrights and activists
• access to the Film and Drama Studio
• opportunities to act, direct and stage manage through the Queen Mary Theatre Company
• proximity to specialist archives and collections such as the National Theatre Archive, Live Art Development Agency Study Room, Women’s Library, Black Cultural Archives
• access to Senate House Library and the British Library

Lecturer Dr Isabel Waidner gives a Keynote

Drama with Creative Writing - BA (Hons)

Drama with Creative Writing with Year Abroad - BA (Hons)

Non-UK students

We accept a wide range of European and international qualifications in addition to A-levels, the International Baccalaureate and BTEC qualifications. Please visit International Admissions for full details.

If your qualifications are not accepted for direct entry onto this degree, consider applying for a foundation programme.

English language

Find out more about our English language entry requirements, including the types of test we accept and the scores needed for entry to the programme.

You may also be able to meet the English language requirement for your programme by joining a summer pre-sessional programme before starting your degree.

Further information

See our general undergraduate entry requirements .

Loans and grants

UK students accepted onto this course are eligible to apply for tuition fee and maintenance loans from Student Finance England or other government bodies.

Scholarships and bursaries

Queen Mary offers a generous package of scholarships and bursaries, which currently benefits around 50 per cent of our undergraduates.

Scholarships are available for home, EU and international students. Specific funding is also available for students from the local area. International students may be eligible for a fee reduction. We offer means-tested funding, as well as subject-specific funding for many degrees.

Find out what scholarships and bursaries are available to you.

Support from Queen Mary

We offer specialist support on all financial and welfare issues through our Advice and Counselling Service , which you can access as soon as you have applied for a place at Queen Mary.

Take a look at our Student Advice Guides which cover ways to finance your degree, including:

• additional sources of funding
• planning your budget and cutting costs
• part-time and vacation work
• money for lone parents.

Theatre and related arts organisations, publishing, digital media, communications, print journalism, and the broadcast media are all popular choices for Drama and Creative Writing students who want to use their communication skills. Others use their ability to think and write critically and persuasively to go into public relations, marketing, and advertising, including in the charity sector. Our graduates are highly experienced in working collaboratively, which makes them especially suited to diverse work environments that depend on collaboration and project delivery.  In addition, many of our graduates embark upon professional careers in education, the third sector, law and teaching, whilst every year the Department sees a number of students progress to take higher degrees, both at Queen Mary and elsewhere.

This course gives graduates some particularly sought-after qualities in the workplace.  Graduates of the Drama with Creative Writing degree might find employment in areas such as theatre and performance, cultural industries, publishing, business, journalism and the media, education, museums and archives, government or public relations. The BA Drama with Creative Writing programme  provides training for those who wish to publish their writing in fictional and non-fictional contexts. The School has developed links with the cultural industries and offers students opportunities to engage with industry professionals and practices through individual modules and careers workshops. Staff teaching on the programme are performance makers and published authors; the establishment and management of links with potential employers, key arts organisations and agents will be an integrated part of the academic content they deliver, particularly in the final year of the degree.

Career support

You’ll have access to bespoke careers support during your degree, including access to experts in Drama and Creative Writing through specific modules (e.g. Applied Performance, Drama and Education, Writing about the Arts); School and Department-run careers and professional development workshops; extra-curricular experience with arts organisations; and advice about postgraduate study.

Our Queen Mary careers team can also offer:

• specialist advice on choosing a career path
• support with finding work experience, internships and graduate jobs
• feedback on CVs, cover letters and application forms
• interview coaching.

Learn more about   career support and development at Queen Mary.

Data for these courses

The Discover Uni dataset (formerly Unistats)

The School of English and Drama provides a first-class learning environment -- the Departments of Drama and English are in the top 40 in the world (QS World Rankings by Subject 2019). And you’ll learn from leading experts: Drama is ranked first and English fifth in the UK for research quality (Research Excellence Framework 2014). We are a large school, with a lot of specialist staff, enabling us to offer a wide range of topics and approaches. You’ll have tailored support, including individual feedback on your work, and there are opportunities to contribute to student performances and publications. We regularly host prominent writers and performers and collaborate with leading organisations such as the V&A, the Barbican, the Live Art Development Agency and Shakespeare’s Globe. Our course makes full use of London’s exceptional theatre and performance resources (e.g. theatres, galleries, museums, libraries, archives, site-specific performance, festivals). The School runs several innovative research centres, including the Centre for Poetry; the Centre for Renaissance and Early Modern Studies; the Centre for Religion and Literature in English; and the Sexual Cultures Research Group.

School of English and Drama

Tel: +44 (0)20 7882 2901

Accommodation

Why Queen Mary

How to apply

International Students

Elements of Creative Writing

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

Content Accuracy rating: 5

As far as I can tell, content is accurate, error free and unbiased.

Relevance/Longevity rating: 5

The book is relevant and up-to-date.

Clarity rating: 5

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Modularity rating: 5

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Organization/Structure/Flow rating: 5

Topics are presented in logical, clear fashion.

Interface rating: 5

Navigation is good.

Grammatical Errors rating: 5

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Table of Contents

• Introduction
• Chapter One: One Great Way to Write a Short Story
• Chapter Two: Plotting
• Chapter Three: Counterpointed Plotting
• Chapter Four: Show and Tell
• Chapter Five: Characterization and Method Writing
• Chapter Six: Character and Dialouge
• Chapter Seven: Setting, Stillness, and Voice
• Chapter Eight: Point of View
• Chapter Nine: Learning the Unwritten Rules
• Chapter One: A Poetry State of Mind
• Chapter Two: The Architecture of a Poem
• Chapter Three: Sound
• Chapter Four: Inspiration and Risk
• Chapter Five: Endings and Beginnings
• Chapter Six: Figurative Language
• Chapter Seven: Forms, Forms, Forms
• Chapter Eight: Go to the Image
• Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

• Chapter One: Creative Nonfiction and the Essay
• Chapter Two: Truth and Memory, Truth in Memory
• Chapter Three: Research and History
• Chapter Four: Writing Environments
• Chapter Five: Notes on Style
• Chapter Seven: Imagery and the Senses
• Chapter Eight: Writing the Body
• Chapter Nine: Forms

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger  is a professor of English at the University of Northern Iowa. He is the author of two books of poems,  Saint Joe's Passion  and  The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of  The Necessary Poetics of Atheism . His other work has appeared in  Best of Brevity ,  Best Creative Nonfiction ,  Notre Dame Review ,  Poetry East ,  Prairie Schooner , and elsewhere.

Rachel Morgan   is an instructor of English at the University of Northern Iowa. She is the author of the chapbook  Honey & Blood , Blood & Honey . Her work is included in the anthology  Fracture: Essays, Poems, and Stories on Fracking in American  and has appeared in the  Journal of American Medical Association ,  Boulevard ,  Prairie Schooner , and elsewhere.

Grant Tracey   author of three novels in the Hayden Fuller Mysteries ; the chapbook  Winsome  featuring cab driver Eddie Sands; and the story collection  Final Stanzas , is fiction editor of the  North American Review  and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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Ironic dialogues: Developing students’ creative writing in drama

2020, New ways in teaching with creative writing

Irony is present in numerous forms of creative writing, drama included. It can be verbal, when the listener or reader perceives there is something odd with the word(s) and tries another interpretation. In this case, the character may make remarks the audience can interpret in different ways. In drama, as in real life, irony can also depend on a situation (see Montgomery, Durant, Fabb, Furniss & Mills, 1992). As a dramatist, Shakespeare relies on different kinds of irony for a variety of purposes, but especially to increase tension, add to playfulness, or create grotesque situations (Blake, 1983). The teaching suggestion detailed in this activity introduces students to an example of dramatic irony in Hamlet before they practice their writing skills in creating an ironic dialogue.

Related Papers

The history of irony is intertwined with the history of theatre and performance. It has also often been suggested that the nature of irony and the nature of theatre are especially well fitted to one another. This paper asks whether these affiliations between theatre and the diverse phenomena that have been called ‘irony’ are primarily an accident of historical contingency—or are there shared cognitive underpinnings that might help to illuminate and confirm this intuitively evident affinity? A very common approach to irony in psychology, linguistics and computer science is to treat it as a sort of operation on an underlying sentiment or proposition, often with the goal of exploring how and when sarcasm can be ‘decoded’ to reveal its underlying intended meaning. But irony, broadly considered, is better described as a way of construing an expressed proposition or an observed scene. The viewpoint theory of irony (Tobin & Israel, 2012) suggests that when people construe a situation or remark as ironic, they are taking a particular complex ‘view of a viewpoint’ that creates the special feeling of ironic distance. This way of looking at irony clarifies important features of the cognitive foundations of situational and dramatic ironies as well as verbal irony, and the theatrical qualities they all share.

SHS Web of Conferences

Nalya Ovshieva

The concept of structural irony is traditionally associated with an implication of alternate or reversed meaning that pervades a work. A major technique for sustaining structural irony is the use of a naïve protagonist or unreliable narrator who continually interprets events and intentions in ways that the author signals are mistaken [1, 45].This paper sets out to investigate structural irony as the organizational principle in English literary discourse. After a survey of different views of structural irony, an attempt is made to verify that the pragmalinguistic techniques, viz. the play on double meaning, echoic mentioning of the word or phrase, the use of emphatic structures in free indirect speech, and repetition of patterns of behavior, are employed in constructing structural irony. The results of the analysis conducted on the material of short stories and novels of English-speaking authors will be presented in order to demonstrate that structural irony can be constructed by com...

Khalil Abdulhameed

Dr. Raed Obayes

Stanca Mada

Argumentation

timo airaksinen

Socratic irony can be understood independently of the immortal heroics of Plato’s Socrates. We need a systematic account and criticism of it both as a debate-winning strategy of argumentation and teaching method. The Speaker introduces an issue pretending to be at a lower intellectual level than her co-debaters, or Participants. An Audience looks over and evaluates the results. How is it possible that the Speaker like Socrates is, consistently, in the winning position? The situation is ironic because the Participants fight from a losing position but realize it too late. Socratic irony compares with divine irony: divine irony is a subtype of Socratic irony since you lose when you challenge gods. Socratic irony is also, prima facie, a subtype of dramatic irony when the Audience knows more than the Participants on the stage.We must distinguish between the ideal and realistic elements of Socratic Irony. The very idea of Socratic irony looks idealized, or it is an ideal case, which expla...

Christian Burgers

Wel done, mate!" If somebody has actually performed well, this utterance can be interpreted literally. If the utterance is a comment on a complete disaster, however, it is an example of verbal irony. An ironic utterance is often misunderstood, which can lead to communication problems between sender and addressee. In this PhD dissertation, Christian Burgers investigates the use and effects of verbal irony in written discourse. He firstly found that - in contrast to what irony theorists presuppose - it is difficult to identity a typical ironic utterance. In most written genres, irony is used in different ways. In addition, Burgers found that it is possible to use textual features of an ironic utterance to predict its complexity and appreciation: language users can use these features to simplify their ironic utterances - or not.

R B Rutherford

Shlomy Mualem

This essay explores Socratic irony as reflected in the famous passages of Alcibiades' speech in Plato's Symposium, focusing on the relationship between ironic utterance and the philosophic guidance process. Reviewing the diverse meanings of the term eironeia in Greek comedy and philosophy, it examines the way in which Plato employs irony in fashioning Socrates' figure and depicting the ideal of philosophic guidance as the "art of midwifery." It then analyzes Kierkegaard's most positive perception of Socratic irony as a necessary methodical element in the Socratic maieutic process of "deceiving into the truth." Contrasting Kierkegaard with Alcibiades' scathing critique, it reads the latter in a combined dramatic-philosophical perspective, as presenting irony as an anti-philosophic phenomenon, leading to cognitive puzzlement and Dionysian irrationality. Alcibiades' negative stance will be manifested via analyzing his use of four literary rhetorical devices: comparing Socrates with the Silenoi, drawing an analogy between ironic speech and Marysas' satyric flute playing, symbolizing philosophy as snake venom, and presenting the scene of Socrates' seduction as dramatic irony. The discussion shows, then, that there are two distinct manifestations of Socratic irony drawn from Plato's writings, destructive and constructive, derived from the character of his philosophic pupils. (FORTHCOMING, April 2023, Topicos 67)

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Table of Contents

Ai, ethics & human agency, collaboration, information literacy, writing process, overview of playwriting.

• CC BY-NC-ND 4.0 by Mark Leib

Successful playwriting depends not only on dialogue, but on intelligent plotting, credible characterization, and the ability to develop a theme through 70 to 90 pages of encounters and exchanges (in a full-length play). The pleasures of writing drama can be significant. Writers for the stage can have the satisfying experience of watching an audience hang on every word, laugh at every witticism, and show their appreciation at the play’s end with grateful applause.

Writing for the theater also allows the playwright the advantage of having actors, designers, and a director with whom to collaborate; it’s the rare playwright who hasn’t learned more about their play during rehearsals. Of course, there are difficulties too: at first, the necessity of writing only what can be seen or heard within the walls of a small theater may seem to limit the playwright in comparison with, say, a novelist or screenwriter. But with practice, it turns out that there are solutions to most of these problems and that the ingenuity with which the writer finds these answers can be part of the magic of the stage experience. In fact, “magic” is the right word to describe a successful play: somehow it rises above its flesh-and-blood interpreters and becomes urgently important, funny, inspiring, or devastating. The writer who chooses to work in dramatic or comedic plays can, at best, deliver an experience that will never be forgotten.

Intelligent plotting is essential. Most plays are constructed around the idea of someone who wants something, who faces an obstacle (external or internal) and then struggles with this obstacle until a result is reached. For example, Hamlet wants to kill his uncle Claudius but faces obstacles within himself ( Hamlet , Prince of Darkness ); Blanche DuBois wants to settle down in a conventional marriage in New Orleans but is opposed in this by Stanley Kowalski ( A Streetcar Named Desire ). The playwright must provide desires for their characters and then determine which ones will be fulfilled and which stymied. If the obstacles are too small, the play will lack suspense; if they’re unreasonably great, the play will lack credibility. In a play with more than a few characters, the playwright must manipulate the action so that all the various desires and struggles on the stage can be interwoven. It’s no coincidence that one of the definitions of drama is “conflict.” The playwright must know how to write thinkable conflicts and grab the spectator’s attentions therewith.

Characterization

Characterization is another skill that the writer for the stage must come to master. In realistic drama—still the most popular sort—characters must be “round” and not “flat,” meaning that they must have multiple dimensions, a thinkable combination of virtues and vices, as well as the needs, hopes, inhibitions, and fears of real human beings. Every good playwright is a good psychologist, understanding that, for example, despite all his anger, Biff Loman still loves Willy Loman ( Death of a Salesman ); Amanda Wingfield is not merely a harridan ( The Glass Menagerie ); and Iago’s varied explanations for his hatred of Othello ( Othello , the Moor of Venice ) are the products of a man who fundamentally doesn’t know himself. With less than a hundred pages to work within, the dramatist must learn to sketch characters in such a way that a whole personality can appear once a performer takes the role. This is a talent best developed when working with the actors and the director: there’s no substitute for the writer of seeing their characters actually on stage. Still, much can be learned from the comments of intelligent readers or even from a cold reading with non-professionals taking the play’s parts.

And then there’s dialogue. Here the playwright must strive to find a credible form of discourse that avoids cliché and artificiality and that varies just as characters do: a professor of philosophy shouldn’t sound like a dog trainer, and a harried urban shop girl shouldn’t sound like a wealthy heiress. The secret of good dialogue is selectivity—finding the conversation that most reveals the lives of the speakers, finding the expression that means more than itself, finding the word that the audience can instantly absorb and interpret. The playwright needs to be aware that “realistic” dialogue isn’t always the most suitable choice–that that the absurdities of Ionesco , the elegance of Shaw , the repeated expletives of Mamet are sometimes more appropriate than the more “authentic” sounds of the real world outside the theater. Further, “on-the-nose” dialogue, with which characters say precisely what they mean, isn’t nearly as interesting as “off-the-nose” dialogue, that which proceeds through indirection and ambiguity. Some playwrights, like Chekhov and Pinter , employ what might be called “pause-and-effect.” Others, like Beckett , use a highly charged poetic diction that packs far more energy than a more conventional vocabulary. Every play, the playwright will find, makes its own special demands where dialogue is concerned, and the writer must learn to readjust with each new work.

Finally, there’s theme. It’s not enough to present characters speaking interestingly with each other while engaged in some action; the playwright must have something to say. A typical play might demand two precious hours from a busy, burdened spectator. In this regard, the playwright is no different from the novelist or poet: they must have a purpose that the literary work embodies, a theme or conviction that the drama communicates. Sometimes the idea might be socio-political, as in Ibsen’s A Doll’s House ; sometimes it’s psychological, as in that same playwright’s Hedda Gabler , or even metaphysical, as in his late play The Master Builder . The primary commandment for playwrights is “Thou shalt not waste the audience’s time.” Theatergoers, like readers of short stories or novels, want to be rewarded for investing attention (and often money) in a play: if they’re lucky, they’ll find that the dramatist has illuminated some area of human life, perhaps made existence a little more comprehensible. A playwright who’s able to shed a little light on a spectator’s life has lived up to a high calling. Such a writer need not worry that their efforts are misspent.

“The Play’s the Thing”

The art of the dramatist has been practiced in the Western world for 2,500 years and has given us the great works of Sophocles , Shakespeare , Strindberg , and Shaw . But this history is not enough: every age has its own truths and needs the artists who can express them in a contemporary way, employing recognizable characters. If they will learn to develop plots that express a well-considered theme, characters that win the spectators’ credence, and dialogue that leads an audience to think and feel deeply, the result can be riveting. Four hundred years after the Bard first said it, the play’s still the thing. The scribe who chooses to write for the stage is taking on a venerable—and potentially powerful—occupation.

Brevity – Say More with Less

Clarity (in Speech and Writing)

Coherence – How to Achieve Coherence in Writing

Flow – How to Create Flow in Writing

Inclusivity – Inclusive Language

The Elements of Style – The DNA of Powerful Writing

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Dramatic Situations

Dramatic situations – original creative writing exercises.

Many beginner writers fall at the first hurdle. That is, they can’t get past that blank page.

Looking at an empty screen or page can be very off-putting for a new writer. This is why writing exercises are so useful.

Exercises take away that blank page and stimulate creativity by challenging a writer to think about an idea that is already somewhat defined and therefore easier to imagine.

Each of the following dramatic situations is designed to appeal to our visual senses.

The images we see in our mind will depend on our own personal experiences, including experiences we may have of similar situations in books we have read, or films we have watched.

We are influenced in more ways than we might realize.

WE ARE UNIQUE

We are all unique and our life histories are different, therefore each of us will interpret these situations in varying ways.

The situations in these writing exercises may form the beginning, middle, or the end of the story.

The specific starter situations may not even form part of the story at all.

Sometimes writing exercises may only serve as triggers – it is all up to you!

 DRAMATIC SITUATIONS

▪   A small girl is lost on Main Street – how did she get there?

▪   He/she tried to open the window but it was jammed shut.

▪   You wake up to find yourself in a new universe.

▪   You open the fridge to find a head.

▪   He/she woke up in their bedroom to find the window/door bricked up.

▪   The envelope slid under the door.

▪   He/she was trapped in a lift with the one person they’d tried to avoid.

▪   He/she pulled out the plug.

▪   He/she was being accused of something so outrageous….

▪   The woman snatched the papers from my hand.

▪  The man with the syringe came closer.

▪   He/she was the last person to come to the house.

▪   No matter how many times you shook him – she wouldn’t wake up.

▪   It was something you’d never guess about your mother.

▪   The police had her/him pinned down.  He/she still struggled.

▪   A man is tied to a railway track – what happens next?

▪   The group moved across the field, as one.

▪   You knew what was in that case, even before you broke the lock.

▪   He/she came to the surface several times, thrashing about, spitting.

▪   The grave was small, neglected.

▪   When he/she returned there was a small shovel, leaning against the wall it hadn’t been there before.

▪   The brick came crashing through the window and landed at her feet.

MORE CREATIVE WRITING EXERCISES 

The above writing exercises are excellent triggers for stories but if you prefer a little less situation and a little less constraint – you will want to try these abstract creative writing exercises.

BECOME CREATIVELY ACTIVE

There are ways to be creative and productive – if you feel your mind has become stale or sluggish then I strongly recommend you try some creative writing activities  as well as some writing exercises.

USE YOUR JOURNAL

If you keep diaries or journals and would like to find more ways to incorporate your recollections and reflections into ideas for stories you will like my post on journal writing.

Good luck with your writing exercises and remember…

Perseverance is not a long race; it is many short races one after the other.

Walter Elliot

PRACTICAL CREATIVE WRITING EXERCISES

You won’t be able to stop writing because these beautiful and inspiring exercises will banish your writing block right now.

Never Be Stuck Again!

 get ebook from amazon.com ,  get ebook from amazon.co.uk,   get paperback from amazon.com, get paperback from amazon.co.uk, get from smashwords, share this:, 4 responses to dramatic situations.

This website has been extremely helpful and has genuinely inspired me to continue writing even though I am totally stuck in ‘writer’s block’ !

Thank you:)

(The quote by Walter Elliot is great)

Glad to hear the site has helped you and sorry to hear about your writer’s block. There are lots of different things you can try to help get rid of writer’s block – why not try some of the techniques I suggest here: https://www.practicalcreativewriting.com/writers-block/ Best of luck Grace

One of the writing prompts is literally the part that im stuck on in my book sos

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