creative writing and drama

ENG 125 & 126 - Creative Writing: Drama

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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.

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• Last Updated: Apr 12, 2024 2:50 PM
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BEST DRAMATIC WRITING PROMPTS

Join (probably?) the world's largest writing contest. Flex those creative muscles with weekly writing prompts.

Showing 88 prompts reset

The great unknown, 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.

Never miss a prompt! Get curated writing inspiration delivered to your inbox each week.

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 🏆.

We'll send you 5 prompts each week. Respond with your short story and you could win $250!

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This week's theme: The Great Unknown

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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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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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Drama and Creative Writing

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Thank you for considering an application.

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.

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• 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

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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Inspiring Resources for Creative Drama

Posted by Janine Buesgen | Nov 2, 2018

If you’ve read Creative Drama Basics , maybe you’d like to try some creative drama with your students!

You can start planning by picking a theme – it can be a topic that’s already in your curriculum – and outlining some activities you’d like try.

Once you have a theme, you’ll want to find relevant material to use for the various activities you’re planning.

Conversely, you can use some of this inspirational material as the basis for a creative drama session.

Fairy/Folk Tales/Tall Tales and Myths

Many creative drama sessions use fairy tales, folk tales, or myths as topics, and there are lots of reasons why.

Humans have told stories since the dawn of language. Before we had writing systems, we passed down knowledge and myths orally. These tales became foundations of our cultural heritages, and their various incarnations still resonate today. For the purposes of a creative drama class, the distinctions among myths and fairy, folk, or tall tales aren’t as important as the content of the story itself.

When choosing tales to use in class, look for simple plots, dynamic characters, and a straightforward message. You should be able to read or retell the story in 10 minutes or less. Stories with children as protagonists have great appeal, as do clever characters who outsmart the villains. There are thousands of stories; it’s not difficult to tailor your selections to the personalities in your group. For example, if everyone in the class resists being “the bad guy,” find a story in which there is none! If you have Disney fanatics in your group who can’t “let it go” when it comes to their animated versions of the fairy tales, select pieces that Disney’s never adapted.

You can read the story aloud to the group or learn the story and retell it in your own fashion. Once the group is familiar with the story, they can put themselves into the story with your guidance. Children enjoy acting out stories with humorous people or situations, and usually are willing to play inanimate objects that relate to the plot.

Embrace the creative drama philosophy of “no wrong answers” when you’re facilitating a dramatic retelling, encouraging the participants to do the same. Don’t be afraid to stretch the boundaries of the story – add in extra family members, duplicate protagonists/antagonists, herds of animals instead of one so that every child in the class has a role to play. With well-known stories ( Little Red Riding Hood, Cinderella, Jack and the Beanstalk ), older children can use their familiarity with the plot to create new ideas, by modernizing the story, or placing characters from several different stories into one.

There are an incredible number of books containing collections of these stories. Some feature tales from a single country, religion, or ethnic group, while others are grouped by subject (women, animals, nature).

Here are a few recommendations:

Winifred Ward’s Stories to Dramatize   is a good starting place. Ward was a pioneer in the field of creative dramatics, and the 100 pieces in this collection are almost guaranteed to be successful because of Ward’s vast experience. The stories are arranged by age level, but because of the sophistication (in terms of following storylines) of today’s children, the older age group stories could be tried with younger children.

Andrew Lang’s Fairy Books Series: There are twelve books in this series, each named with a different color (i.e. Blue, Pink, Red, Grey ). The collection includes some stories of Hans Christen Anderson and the Brothers Grimm along with many little known fairy tales. I especially recommend are “The Princess in the Chest” ( from  The   Pink Fairy Book) and “The Raspberry Worm” (The Lilac Fairy Book) . As the books were published between 1889 and 1913, they are now in the public domain and are available online through Project Gutenberg.

Janine Buesgen

Janine Moyer Buesgen is a theatre educator and artist with a Master’s of Arts in the Humanities degree from Arcadia University. She taught English and Theatre for more than a decade in the Pennsbury School District. Currently, Janine works with Everybody’s Theater Company and is a lecturer in the Rome School's Drama Department at the Catholic University of America.

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8.2: Elements of Drama

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• Page ID 40476

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

As discussed in the Creative Nonfiction and Fiction chapters, plot is the most important element in a narrative. Similarly, it comprises arguably the most important element of a play. Plot is the events in the play and the order in which the events are told. There is no one correct way to structure a drama! However, the structure of a drama is only as effective as it is intentionally formed to elicit the desired response from its audience. A play usually has a beginning, middle, and end. It almost always has a character grow and develop over the course of the play. Let's look closely at one type of plot structure in order to see what plot might look like.

Case Study: Tragic Plot

According to Aristotle, an effective plot of a tragedy follows this order:

• Example : two brothers murder each other. Their uncle, the King, refuses to bury one of the brothers and makes a law against burying him. This puts the sister of the brothers in a bad place, because her religion requires her to bury them so they go to heaven.
• Example : The sister defies her uncle the King and buries her brother against the king's orders and then refuses to apologize. The king then commands his soldiers to bury his niece alive for her defiance!
• Example : The King receives a warning from a wise elder that burying his niece is a terrible idea that has angered the gods. The king finally realizes he has been a stubborn bonehead (he has exhibited excessive pride, hubris) and has a serious character flaw (hamartia).
• Example : the King's recognition of his error comes too late: just as he sends his soldiers to free the niece from her cave, she dies in her cave and the King's son—his niece's betrothed—has killed himself in sorrow.
• Example : Not only did the King's niece and son die, but a messenger tells him that his wife killed herself in grief. The heartbroken King leaves the city in self-imposed exile. The audience feels pity and fear watching the King suffer, and this helps purge their feelings of pity and fear.

Not all plays or even tragedies follow this structure exactly. That being said, it can be helpful to analyze the ways in which a plot's structure is formed, as this can reveal deeper meanings. For example, what would have happened if the above mentioned King had recognized his tragic flaw (hamartia) in time to save his niece? This would have been a very different play: perhaps even a romance if the niece and king's son married and lived happily ever after. As in this example (based on Antigone by Sophocles), the structure of a play can have profound effects on its meaning or even genre!

Whether tragedy, comedy, history, or romance, all plays generally follow the structure of act, scene, and line.

A play can be anywhere from a few minutes to several hours. Usually a play will be divided into anywhere from one to five acts. These acts usually hinge upon a central plot point. Between each act, the curtain will fall; perhaps in the middle of the play there might be an intermission for audiences to use the restroom or buy drinks. A lot of literary production is driven by economics, after all: playwrights gotta eat, too!

The acts are further divided into scenes. The scene is usually set in a particular moment in time and setting.

When reading the play, actors reference lines . The lines are the dialogue that they speak to one another. A long time ago, poems and plays were often written in verse such as iambic pentameter, so poems and plays shared the concept of line structure. However, in contemporary plays, dialogue may be written in prose. Usually it will still have some kind of numbering system so that actors, directors, and readers can find their place.

When writing about a play, you should try to reference act, scene, and line number in your parenthetical in-text citation. For example (1.3.186) means Act 1, Scene 3, Line 186. However, not all plays have line numbers, or even scenes. So you may need to just reference act and scene (1.3) or just the act (Act 3).

To provide the story’s setting, a play requires sets. If you've ever been involved with a play, you know that the set can be made up of detailed backdrops, specifically designed props, strategic lighting, and sometimes even background noise. A set, along with the characters' subtle indications of the scene, can generate a full setting in the audience's imagination. For example, the play Hamlet starts its setting on a creepy, dark, foggy, cold night in the fictional Castle Elsinore on Denmark. The setting is often established on a stage , or the physical space upon which actors move. In order for a play to take place, there must be actors (people performing the play), an audience (people viewing the play), and action and/or dialogue as performed by the actors.

While in short stories or novels a reader must wait until a character appears to know who the important characters are, in a play they are often the first aspect of the text encountered by readers. The character list usually appears in the first pages of the play. This is because, as a play emphasizes action over narration, the actors must know their parts!

Usually, the most important characters are listed first. Think most spoken lines, protagonists, antagonists, etc. However, the order in which the characters appear on the character list does not necessarily dictate the order of appearance. Like in creative nonfiction or fiction, writers develop characters over the course of the play. Different characters serve different roles such as protagonist, antagonist, or foil. There are a few types of character archetypes unique to drama which are described below. Note that not all of them will be in every play!

• Protagonist : the hero of the play. Usually the main character or the character with the most spoken lines, or the character around whom all the other characters seem to orbit. Hamlet would be an example of a protagonist.
• Antagonist : the villain of the play, usually opposite the protagonist. Claudius would be an example of an antagonist.
• Foil : this is a character meant to define another character through juxtaposition or comparison. For example, in Hamlet , Old Hamlet and Old Fortinbras and Hamlet and Fortinbras are often considered foils of each other. Fortinbras and Hamlet are both on paths of vengeance, yet each goes about their vengeance in different ways. While Fortinbras uses military strength, Hamlet chooses to use his intellect. While Fortinbras is decisive, Hamlet seems paralyzed by indecision. By examining the ways in which these two characters are similar and different, we can learn a lot about each of them and their significance in the play.
• Wise elder : in most plays, there is a wise old man or figure of wisdom who guides the protagonist. In Hamlet, it might be the ghost of his father, or Polonius can be a silly inversion of this archetype. In Antigone, it is probably Tieresias.
• Love interest : again, in most plays, there is usually a love interest of the protagonist, though not always. For Hamlet, this is Ophelia (though some scholars have argued Horatio!)
• Messenger : a character who delivers news

Dialogue and Action

One of the main differences between fiction and drama is that usually a play's plot is primarily forwarded through dialogue and action . Dialogue is comprised of the words directly spoken by characters, while actions are the physical movements of the actors. In a novel, action is described in detail and dialogue is usually put in quotation marks. For example, consider the following example of action and dialogue from The Picture of Dorian Gray by Oscar Wilde:

Distinct from the novel form of dialogue evidenced above, in a play, any words which come after the character's name will be considered dialogue. Action is usually not described in great depth, and actors are to interpret what actions to take based on the dialogue. Consider this example from Hamlet by William Shakespeare:

MARCELLUS: Holla, Bernardo! BERNARDO: Say, What, is Horatio there? HORATIO: A piece of him. BERNARDO: Welcome, Horatio. Welcome, good Marcellus. MARCELLUS: What, has this thing appear'd again tonight? BERNARDO: I have seen nothing.

In the above excerpt from the beginning of the play (1.1), Marcellus, Bernardo, and Horatio (soldiers) greet each other as they patrol the castle. When Horatio says "a piece of him," we might imagine the fog is so thick or the night so dark that only pieces of each character can be seen. Horatio might be holding up his hand in the torchlight. We might imagine the characters wandering about in the dark speaking to each other, a bit rattled, worrying if the mysterious "thing" Marcellus references will reappear. We learn later in the dialogue that "thing" is an apparition (ghost). None of the characters' movements are described, so we must infer what their actions are through their dialogue.

Although a novel’s narrator can describe in detail the thoughts and impressions of its characters, a play's effects depend much more heavily on what the characters say and do. A play is a performance, a spectacle, rather than words on paper. That is, drama is a story performed by actors. Some plays do include a narrator or a chorus, to introduce the scene or set the tone of the play, but the bulk of the production's effect is generated through the dialogue and its visual devices, and since the play's script dictates what the characters will say and often, through stage direction, its production strategies as well, the script is crucial to a successful performance.

While in other literary works the audience takes a more passive role, in plays the audience often becomes part of the show. When a character goes on an extended soliloquy, or extended speech when they are by themselves on the stage, they will often address the audience directly; the audience gets the insider view of their thoughts. Sometimes actors join audience members or extend the stage into the seats! Audiences in the old days also would get rowdy and interact with the actors and actresses, sometimes in outright chaotic ways. For example, during the first act of a play in 1883, actor John Ritchie was allegedly pelted by rotten eggs and tomatoes and "demoralized" ("AN ACTOR DEMORALIZED"). So when analyzing drama it's important to analyze how audience members might experience the play!

Works Cited

"AN ACTOR DEMORALIZED BY TOMATOES" The New York Times, 1883 https://www.nytimes.com/1883/10/28/a...-tomatoes.html

Contributors

• Adapted from material originally published in "Drama as a Genre" from Writing and Literature: Composition as Inquiry, Learning, Thinking, and Communication by Dr. Tanya Long Bennett of the University of North Georgia, CC BY-SA 4.0

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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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• News & Events

Drama and Creative Writing is a dynamic research group dedicated to the production and study of performance and creative practice.

The group covers a wide range of research and creative activity. These creative and critical interests feed directly into our doctoral, postgraduate and undergraduate teaching and supervision.

The research group combines two distinct, yet interlinked, discipline areas: Drama and Performance , and Creative Writing .

Drama and Performance

Drama and Performance covers a rich span of performance types and historical periods. We also have a strong track record of collaboration with regional creative and cultural industry partners. Our particular expertise includes the following:

• Shakespeare and early modern drama with a focus on historical and contemporary performance histories
• Nineteenth, twentieth and twenty-first century British and Irish theatre, including modernism and the avant-garde
• Audience and reception studies
• Theatrical place and space
• Theatre history and historiography
• Playwriting and digital performance
• Collaborative research with creative economy partners.

Creative Writing

Creative Writing at Nottingham covers a wide range of skills and techniques, including scriptwriting, poetry and fiction (including short stories, novels and digital texts). We are all published writers and practitioners.

There is an emphasis on the practicalities of getting published in our teaching activities, from the initial writing, through to editing and publication or performance.

Guest and honorary lecturers provide additional context and work-based experience. Our writer-in-residence is the award-winning novelist and short-story writer Professor Jon McGregor . Students have the opportunity to work alongside Jon McGregor on The Letters Page , the School of English’s literary journal.

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Drama and Creative Writing

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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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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.

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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)
• Performance, Acting, Text (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

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