1 59608 Cert Creative Writing 07-08

Centre for Continuing
Education, UEA
01603 591451
web: www.uea.ac.uk/contedu
e mail: cont.ed@uea.ac.uk

2
CERTIFICATE IN CONTINUING EDUCATION:
CREATIVE WRITING
CONTENTS Page(s)
A Introduction 3
B Aims and Objectives 3
C Learning Outcomes 4
D Structure and Unit Outlines 4-44
E Coursework and Assessment 45
F Teaching and Learning 45
G Teaching Team 46-49
H Completion of the Award 49
I Preparatory Reading 49
J Useful Websites 49
K Progression 50
L Some Useful Reminders 50

3
A Introduction
Welcome to the Certificate in Continuing Education: Creative Writing. This is a
part-time Certificate at Levels 1 and 2 (equivalent to first and second-year
undergraduate study) carrying 60 credits. Students enrolling on the certificate
may choose from a number of 10 credit units. These include Writing Prose
Fiction, Writing Poetry, Introduction to Journalism, Writing for Children and/or a
literature unit. Units may be studied in any order and over a maximum period of
three years. Similar units will be available every year.
During this time, you will be able to develop your creative writing skills in a
structured and supportive environment. You will be given a more detailed
course outline at the beginning of each unit and your course director, Helen
Ivory, (h.ivory@uea.ac.uk) will be happy to advise you if you have any concerns,
as will the individual tutors of each unit.
We hope that you will enjoy and benefit from the course.
B Aims & Objectives
This pathway provides a coherent programme of study at university level 1
which is intended to enable adult, mature students to engage with the subject
on a part-time basis. Its primary educational aim is to introduce students to
the basic techniques and skills of creative writing.
The objectives of the course pathway are:
• To introduce students to a range of creative writing genres.
• To provide instruction in a range of techniques employed in creative
writing.
• To provide students with opportunities to employ these techniques
under close supervision.
• To critically examine and analyse examples of published works
produced by novelists, memoirists, short story writers, scriptwriters and
poets.
• To guide students in the undertaking of several genres of creative
writing of their choice.
• To put creative writing into the context of literature and cultural studies
and to illustrate the potential contribution of other disciplines.
• To develop basic research skills.
• To equip students to undertake further study at higher undergraduate
levels; for example the Diploma in Creative Writing (UG level 3).

4
Broader Educational Objectives
The course also aims to develop:
• A commitment to academic study at university level.
• Independent thought and study.
• Analytical and critical ability in the use of evidence.
Core skills, such as an ability to present, communicate and discuss ideas
and concepts logically, both orally and in writing.
• Originality in supervised research and an ability to demonstrate an
understanding of the mechanics of scholarship
C Learning Outcomes
By the conclusion of this course pathway students will be able to:
♦ Identify the different genres in creative writing.
● Write several pieces of creative writing demonstrating a basic
understanding of poetic and narrative forms.
♦ Identify the key components of a piece of creative writing.
♦ Research their subject and keep a notebook/writing journal.
♦ Critically and confidently discuss aspects of prose
fiction/memoir/poetry/scripts and refer to specific texts.
♦ Carry an idea through by way of drafts (demonstrating the importance of
revision).
♦ Reflect on the process of writing.
♦ Demonstrate an awareness of the affective power of language and begin
to write more confidently, skillfully and appropriately.
♦ Communicate ideas and concepts orally and in writing.
D Structure and Unit Outlines
The Creative Writing pathway comprises a number of 10 credit units. To
complete the award, students must amass a minimum of 60 credits from any
of the units available. The following units are at level 1 (equivalent in
standard to 1st
year undergraduate study) and are marked as PASS/FAIL
only for each assessment: you must complete the major assessment in each
case to gain the credits.
Introduction to Creative Writing (prose and poetry) 10 credits
Writing Prose Fiction (an Introduction) 10 credits
Writing Poetry (an Introduction) 10 credits
Writing Memoirs 10 credits
Introduction to Journalism 10 credits
Introduction to Popular Fiction 10 credits
Introduction to Script and Screenwriting 10 credits

5
Adaptation (Script and Screenwriting) 10 credits
Writing for Radio 10 credits
Reading and Writing Fairytales 10 credits
Crime Writing 10 credits
Horror and the Supernatural 10 credits
The following units are at level 2 (equivalent in standard to 2nd
year
undergraduate study) and are marked with percentage grades for each
assessment.
Writing More Prose Fiction 20 credits
Writing More Poetry 20 credits
More Script and Screen Writing 20 credits
Writing Historical Fiction 10 credits
Writing Romantic Fiction 10 credits
Travel Writing 10 credits
Writing for Children 10 credits
Science Fiction and Fantasy 10 credits
Level 2 units usually assume some familiarity with creative writing. It is
strongly recommended that students wishing to study level 2 Prose Fiction or
level 2 Poetry complete the corresponding level 1 course - Writing Prose
Fiction, Writing Poetry or Introduction to Script and Screen Writing, or
equivalent before applying.
Students may if they wish take one literature unit to contribute towards the
Certificate – for example:
Children’s Classics 10 credits
The American Novel 10 credits
Gothic Fiction 10 credits
Units can be studied in any order.

6
INTRODUCTION TO CREATIVE WRITING:
Prose and Poetry
10 Credits Level 1 (10 x 2 hour workshops)
Course Description
This course will look at the basics of creative writing, giving an introductory-level
exploration of writing in prose (fiction and non-fiction) and poetry.
Aims and Objectives
Overall, this course aims to provide opportunities for students to explore and
enjoy their own creative writing, and also to become aware of frameworks for
thinking about and developing their own creativity with words. Some basic
technical issues will be addressed, but the main emphasis will be on getting
started and generating new work. Students will also have the opportunity to
extend their understanding of the possibilities of creative writing through sharing
each other's writing in a friendly workshop environment and through reading
short excerpts of a range of contemporary published work.
In particular, students will be encouraged to explore, discuss and develop an
understanding of:
• Possible sources for material for writing ('Where do stories come from?')
• Different opportunities offered by different genres ('What is a poem?'
'What is fiction?')
• Their own experience of the creative writing process.
Learning Outcomes
By the end of the unit, students will be able to:
• Write two short pieces of creative writing
• Show an understanding of redrafting and revision
• Show an understanding of some basic technical issues in creative
writing: for example, (in poetry) the use of line-breaks and sound patterns,
(in fiction) the use of dialogue and point of view
• Keep a writing notebook/journal
• Identify new areas of interest to them in writing and/or reading.
Teaching and Learning Methods
The unit usually will consist of ten two-hour seminars. The class will provide an
active learning environment where all are expected to participate in in-class
exercises, ongoing discussion of the readings and constructive commentary on
shared work. In addition, suggestions will be made in class for optional short
writing exercises to do at home and share in class. Reading materials will
include handouts of short excerpts from published poetry and prose.

7
Assessment
One short exercise (prose or poetry) of at least 500 words assessed at 10%,
based on work done during the course.
One short piece of writing (1500-2000 words) assessed at 80%:
either one story or two shorter prose pieces
or four to six poems
A critical appraisal (maximum 300 words) of the student's own work: a self-
reflective piece noting sources, treatment and the drafting and redrafting
process and /or new developments and new directions that have arisen during
the course (10%).
Assessment is pass/fail
WRITING PROSE FICTION
(AN INTRODUCTION)
This course is about writing short fiction. It is for those who have never written in
this way before; or who have done some writing, but not in a sustained way. It is
also for those who may have completed a short story, but who have had little or
no feedback and would like to improve.
Aims and Objectives
The main aim of the course is to encourage you to write fiction, to enjoy it and to
continue writing.
Specific Objectives
• to consider different sources for stories
• to encourage students to keep a notebook
• to use the imagination and memory
• to observe and listen
• to familiarise students with some published short stories
• to create a character
• to develop a plot
• to examine the difference between 'Show' not 'Tell'
• to write dialogue
• to write description
• to link character and time/place

8
• to introduce students to different forms of narrative
Learning Outcomes
By the end of the course you should be able to:
• discuss the ingredients of a short story
• be familiar with some published short stories
• write a short story (demonstrating an understanding of the workings of
fiction including character and plot development, effective dialogue and
narrative unity)
• keep a notebook/writing journal
Course Structure
There will be 10 x 2 hour workshops which will include class exercises,
discussions and weekly assignments. We will analyse several published short
stories as well as share work in class.
Assessment
There will be either an assessed class based exercise or a homework exercise
set in the third or fourth week worth 10%. Tutors will give informal feedback on
the work but there will be no formal written report at this stage.
In Week 10 you will be expected to submit a short story of 1500-2000 words
(or two shorter pieces – please include word count) and a critical
appraisal (300 words approx.) for your final assessment. The critical appraisal
is a short critique of your work in which you could discuss the source of the
work and/or influences, its development, the effect of the changes made
through drafting and your own final assessment of work. This is to provide
evidence of knowledge, understanding and skills achieved as a result of the
course.
Assessment Weighting
Class/homework based exercise: 10%
Short story: 80%
Critical Appraisal:10%
There will be written feedback for this final assessment.
Key Texts/Bibliography
Texts specifically concerned with the techniques of writing include:
Julia Bell & Paul Magrs, The Creative Writing Coursebook, Macmillan, 2001
Dorothea Brande, Becoming a Writer, Pan, 1996 (1st
pub. 1934)
Natalie Goldberg Writing Down the Bones, Shambhala, 1986

9
King, Stephen, On Writing, Hodder & Stoughton, 2000
David Lodge, The Art of Fiction, Penguin, 1992
John Paxton Sherriff, Short Story Writing, Robert Hale, 1995
Sol Stein, Solutions for Writers, Souvenir Press, 1999
Students at the UEA will have full use of the library.
WRITING POETRY
(AN INTRODUCTION)
10 Credits, Level 1 (10 x 2 hour workshops)
This course is about writing poetry. It is for those who have never written in this
way before; or who have done some writing, but not in a sustained way. It is
also for those who may have written poetry, but who have had little or no
feedback and would like to improve.
The course can be taken as a stand-alone unit, or as part of the Certificate in
Continuing Education: Creative Writing. Successful completion of this course
could also allow you to apply for the Diploma in Creative Writing, although
acceptance is not guaranteed by this criteria alone.
Aims and Objectives
The main aim of the course is to encourage you to write poetry, to enjoy it and
to continue writing.
Specific Objectives
• to consider different sources for poems
• to study poetic forms
• to explore examples of imagery and metaphor
• to examine contemporary poetry
• to play with language
• to analyse students' poetry in a constructive way
• to examine poetic styles in prose and to understand the discipline of
writing poetry to improve prose style
Learning Outcomes
• feel confident to write poetry

10
• explore the power of language and to use it more confidently, skillfully and
appropriately
• begin to develop your own style
• demonstrate a basic understanding of poetic form
Course Structure
There will usually be 10 x 2 hour workshops, which will include class exercises,
discussions and weekly assignments. We will analyse several published poems
as well as share work in class.
Assessment
In Week 10 you will be expected to submit 4 - 6 poems and a critical
course.
Poems: 80%
Critical Appraisal: 10%
Texts specifically concerned with the techniques of writing will include:
Addonizio, Kim, and Laux, Dorianne, The Poet’s Companion; a Guide to the
Pleasures of Writing Poetry, Norton, New York and London, 1997
pub. 1934)
James Fenton, An Introduction to English Poetry, Penguin, 2002
Natalie Goldberg, Writing Down the Bones, Shambhala, 1986
Philip Davies Roberts, How Poetry Works, Penguin, 1986
Peter Sansom, Writing Poems, Bloodaxe Books, 1994
Jo Shapcott & Matthew Sweeney (eds.), Emergency Kit, Faber, 1996
Ruth Padel, 52 Ways of Looking at a Poem, Jonathan Cape, 2002
Anthologies of poetry will be recommended during the course. These may
include Astley, Neil (ed.) Staying Alive; real poems for unreal times, Blooodaxe

11
Books, 2002, Edna Longley (ed.) Bloodaxe Book of 20th century poetry, 2000,
Linda France (ed.)
Sixty Women Poets, 1993 and Esther Morgan (ed.), Reactions and anthologies
such as Making for Planet Alice.
WRITING MEMOIRS
Everyone has a story to tell. There are as many interpretations of events as
there are people: no two stories will ever be the same. Autobiography is a
recollection of experience of life in a different time and provides a means to
share the past. It is compelling because of its authenticity and has often
provided a platform for those who have been marginalised, or to tell extreme
stories such as Brian Keenan’s account of being held hostage in Beirut. It is
also used for those who want to tell their own story for themselves, their family,
friends and community; to preserve in words a world gone by.
Aims and Objectives
The main aim of the course is to encourage you to write a memoir, to enjoy it
and to continue writing. The course offers the opportunity to share memories
and help in shaping stories into compelling narratives. As well as looking at
ways of accessing memories, and of interpreting and structuring them, we will
also critically examine extracts of published memoirs and discuss issues
surrounding the writing of 'truth'.
Specific objectives:
♦ to encourage students to familiarise themselves with various
types of autobiography/memoirs
♦ to consider the differences between autobiography and fiction
♦ to question autobiography as a literary construct
♦ to encourage students to tell their stories
♦ to experiment with mnemonics
♦ to give structure to writing and to develop narrative skills
♦ to understand the importance of drafting
♦ to consider the effects of language

12
Learning Outcomes
At the end of the course you should be able to:
• critically and confidently discuss aspects of autobiography and
refer to specific texts
• demonstrate an understanding of narrative structure and shape
• feel comfortable with the idea of writing the self
• carry an idea through by way of drafts
• demonstrate a serious engagement with language and show
an ability to coin images/originality in general
• write engaging extracts from their own life
Course Structure
There will be ten two-hour workshops which will include discussions, analyses
of extracts from published autobiographies and writing exercises. We will
explore ways of sharing and accessing memories using the senses. There will
also be the opportunity for students to present their work to the group for
constructive feedback.
Assessment
In Week 10 you will be expected to submit a memoir of 1500-2000 words (or
two shorter pieces – please include word count) and a critical appraisal
(300 words approx.) for your final assessment. The critical appraisal is a short
critique of your work in which you could discuss the source of the work and/or
influences, its development, the effect of the changes made through drafting
and your own final assessment of work. This is to provide evidence of
knowledge, understanding and skills achieved as a result of the course.
Memoir: 80%
Critical Appraisal: 10%
A photocopied dossier of short extracts of key texts* will be provided at
the beginning of the course from some of the following books:
*Ashworth, Andrea, Once in a house on fire, Picador, 1998
*Augustine, Confessions, Penguin Classics, 1961

13
*Carter, Angela, Shaking a Leg, Vintage, 1998
*Levi, Primo, If this is a Man/Truce, Abacus, 1995
*Keenan, Brian, An Evil Cradling, Hutchinson, 1992
King, Stephen, On Writing: A memoir, Hodder & Stoughton, 2000
Nabokov, Vladimir, Speak, Memory, Penguin Modern Classic, 1987
*Rushdie, Salman, Imaginary Homelands, Granta Books, 1992
*Sage, Lorna, Bad Blood, Fourth Estate, 2000
Singleton, John (ed) The Creative Writing Handbook, Macmillan Press,
1996
Soyinka, Wole, Ake/Isara, Minerva, 1995
Woolf, Virginia, A Writer’s Diary, Grafton, 1978
INTRODUCTION TO NEWSPAPER JOURNALISM
This course will give an insight into various types of journalism and the process
journalists go through to produce an effective piece of writing. While this will be
useful for anyone thinking of working in newspapers, it will be useful in a
general way, showing how various techniques can lead to a more punchy and
attention-grabbing prose style.
Aims and Objectives
The main aim of the course is to encourage you to write, to enjoy it and to
continue writing. Through looking closely at contemporary newspapers and
newspaper supplements, you will have the opportunity to look at journalist
theory, and put it into practice in class (through exercises and work-shopping
your own writing) and as part of your coursework.
• for students to become familiar with the main forms of newspaper
journalism: the news story, the news feature, and the review
• for students to practise writing in various forms of newspaper journalism
• to examine contemporary newspapers and different house-styles
• to learn and apply accepted news story structures
• to develop interviewing skills
• to develop and appreciate the importance of researching and preparing
questions
• to practise and apply attention-grabbing prose styles
• to recognise the importance of redrafting
Learning Outcomes
At the end of the course students should be able to:

14
• to demonstrate an understanding of the main forms of newspaper
journalism
• to write using two or more of the accepted newspaper forms, and to
follow accepted structures
• to demonstrate an awareness of various techniques for increased word
and sentence impact (e.g. use of puns, alliteration, sentence length, etc.) -
writing skills that can be applied both in journalism and more generally
• to take a news idea from initial research and questions to the final article
• to appreciate the need to think beyond any initial assignment (i.e. to
pursue a ‘story-behind-the-story’)
• to demonstrate an increased awareness of the workings of the
newspaper trade
Course Structure
There will be ten two-hour workshops combining theory, practice and workshop
sessions, mainly classroom based, with some ‘field work’. Weeks 1-3 will focus
on the news story (traditional news story and narrative news story) and
interviewing. Weeks 4-6 will focus on the news feature and weeks 7-10 will look
at writing reviews. There will also be an opportunity to discuss your work and
for tutorials.
Assessment and Weighting
Formal assessment will provide feedback on written journalism, but the classes
will also provide an opportunity for developing interview techniques. A short
written piece, as homework or as a class-exercise, will be submitted for
feedback by half-term.
By the end of the course, you will be expected to submit:
1. A short news story (2-300 words (10%) (to be submitted before half-term)
2. Journalistic writing (feature, review, or combination) 2,000 words (80%)
3. A critical appraisal (2-300 words) describing how your writing has
progressed (10%)
Wynford Hicks (ed.), Writing for Journalists, Routledge, 1999
Hunter S. Thompson, Fear and Loathing in Las Vegas, Flamingo, 1993
Tom Wolfe & E.W.Johnson (ed.), The New Journalism, Picador, 1975

15
INTRODUCTION TO SCRIPT & SCREENWRITING
This course will include writing for the stage, screen and radio. It will focus on
the construction of stories and the telling of them in the different mediums. We
will look at various examples (visual and aural) including monologues, short
films/plays and other types of television drama while focusing, in particular, on
conflict, characterisation, structure and dialogue. We will also consider the
presentation of manuscripts, outlines and treatments.
Aims and Objectives
The main aim of the course is to encourage you to write a script, to enjoy it and
to continue writing. We also aim to familiarise you with various mediums of
scriptwriting and to examine the differences. It will also give you the opportunity
to write and present a script in a constructive environment.
♦ to encourage students to familiarise themselves with the various
mediums of scriptwriting
♦ to adopt a critical approach to viewing (and listening to) films, plays and
theatrical productions
♦ to consider the differences between writing for the radio, stage and film
♦ to focus on conflict, characterisation and story
♦ to understand the subtlety of exposition through dialogue
♦ to recognise the importance of drafting
Learning Outcomes
♦ write scripts with much greater confidence
♦ demonstrate an understanding of the differences between writing for the
different mediums and specialise in one
♦ carry an idea through by way of drafts
♦ use exposition effectively
♦ create engaging characters and develop conflict
♦ demonstrate an understanding of narrative structure and shape
♦ present a script in a professional manner

16
Course Structure
There will usually be ten two-hour workshops which will include discussions,
analyses of extracts of films and other scripts and writing exercises.
Throughout the course, you will be able to develop your own script within the
workshops and there will be an opportunity to have them read out within the
group.
Assessment
In Week 10 you will be expected to submit a ten-minute script (either for the
stage, film or radio, and a critical appraisal (300 words approx.) for your
final assessment. The critical appraisal is a short critique of your work in which
you could discuss the source of the work and/or influences, its development,
the effect of the changes made through drafting and your own final assessment
of work. This is to provide evidence of knowledge, understanding and skills
achieved as a result of the course.
Script: 80%
Bennett, Alan The Complete Talking Heads
Chatman, S. Story and Discourse: Narrative Structure in
Fiction and Film, Cornell University Press, London,1978
Goldman, William Which Lie Did I Tell , Bloomsbury, 2000
McKee, Robert Story, Methuen, London, 1998
Stoppard, Tom The Plays for Radio (1964 – 1991) Methuen, 1990
Wolff, Jurgen & Cox, Kerry Successful Scriptwriting, Writer’s Digest
Books,1988

17
ADAPTATION (SCRIPT & SCREENWRITING)
This course will focus on adaptation of texts (novels, short fiction, poems, plays
and articles) into scripts for the stage, screen and radio. It will examine what it
is in a text that makes it suitable for adaptation, what changes are and are not
necessary for a successful adaptation and how adapted scripts are structured.
The course will refer to a wide range of examples while studying one or two
examples in depth. It will also assist the participants in their own efforts to
adapt a text and provide them with the necessary tools.
The course is for those who have a little experience in writing scripts (either
having taken the Introduction to Script and Screenwriting Course or having
started to write a play or a script) and would like to learn how to adapt texts into
script form. It can be taken as a stand-alone unit, or as part of the Certificate in
acceptance is not guaranteed by this criterion alone.
Aims and Objectives
The main aim of the course is to encourage you to adapt a text into a script, to
enjoy the process and to enable you to develop the tools to continue with your
own writing. It will help you to understand the process of adaptation and will
also give you the opportunity to write and present an adapted script in a
constructive environment.
♦ to identify those elements of a text that will make it suitable for the process
of adaptation
♦ to understand the variety of types of adaptation – whether they intend to be
true to the original, to rethink it or deconstruct it
♦ to learn what choices have to be made in the process of adaptation (what
can be cut and what can be retained)
♦ to adapt the process of adaptation according to the genre of the script
(whether it is character- or plot-led)
♦ to examine adaptations – successful and unsuccessful – and develop a
critical awareness of how they work
♦ to consider the different problems posed by adapting for radio, stage and
film
♦ to learn how to revise a script – and work on further drafts

18
Learning Outcomes
♦ choose a text for adaptation
♦ understand the three different forms of adaptation – faithful, rethought
and deconstructed
♦ choose what parts of a text should be retained and what can be cut in an
adaptation
♦ demonstrate an understanding of the different demands that different
genres impose upon adaptation
♦ have a critical awareness of how adaptations are structured
♦ demonstrate an understanding of the different problems posed by
adapting for different media
♦ write a short adaptation for screen, stage or radio
♦ rewrite a first draft script
Course Structure
There will be ten two-hour workshops which will include discussions, analyses
of extracts of films and other scripts and writing exercises. Throughout the
course, you will be able to develop your own adapted script within the
workshops and there will be an opportunity to have them read out within the
group.
Assessment
There will be either an assessed class-based exercise or a homework exercise
the work, but there will be no formal written report at this stage.
In Week 10 you will be expected to submit a ten-minute adapted script
(either for the stage, film or radio, and a critical appraisal (300 words
approx.) for your final assessment. The critical appraisal is a short critique of
your work in which you could discuss the source of the work and/or its
influences, its development, the effect of the changes made through drafting

19
and your own final assessment of work. This is to provide evidence of
Script: 80%
Highsmith, Patricia * The Talented Mr Ripley,
Kesey, Ken One Flew Over the Cuckoo’s Nest
Minghella, Anthony*The Talented Mr Ripley, the screenplay, Miramax, 1999
Rowling, J.K. Harry Potter and the Philosopher’s Stone*
Stoppard, Tom, Rosencrantz and Guildenstern are Dead,* Faber & Faber,
1973
Tolkien, J,R,R. The Hobbit, BBC Radio 4 Adaptation, BBC Audiobooks, 1994
Tolkien. J.R.R. The Hobbit, Harper Collins, 2001
Wasserman, Dale, One Flew Over the Cuckoo’s Nest (the play) Samuel French
Inc.
Theory
Cartmell, D. and Whelehan, I. Adaptations, Routledge, 1999
Giddings, R., Selby, K. and Wensley, C. Screening the Novel, Macmillan, 1990
McFarlane, B. Novel to Film, Oxford University Press, 1996
* key texts
Students at the UEA will have full use of the library. Elsewhere, book boxes will
be provided.
WRITING PLAYS FOR RADIO
Course Description
This course is about writing drama for radio. It is for those with a little
experience in writing plays (either having taken the Introduction to Script and
Screenwriting Course or having started to write plays) and who would like to
learn how to write for a different medium.

20
Continuing Education: Creative Writing. Successful completion of these courses
Aims and Objectives
The main aims of the course are to encourage you to write plays for radio and to
help you develop the tools necessary for writing effective plays. It will enable
you to understand the process of writing drama for radio and will also give you
the opportunity to write and present a short radio play in a constructive
environment.
Specific Objectives
• to understand how radio plays are structured
• to familiarise students with some published and broadcast radio plays
• to create characters
• to develop plots
• to examine the difference between ‘telling’ and ‘showing’'
• to write functional dialogue
• to create time and place within a sound environment
• to learn how to criticize fellow-students’ work in a constructive manner
Learning Outcomes
• structure a short play for radio
• understand how to develop a plot
• structure individual scenes
• write dialogue for radio and know how to create distinctive idiolects
• create worlds through sounds
• understand how to layer sounds
• balance scenes in terms of dynamics and shading
• learn how to redraft plays
• write and present an outline of a play
Course Structure
There will usually be ten two-hour sessions which will include discussions,
analyses of extracts from plays and writing exercises. Throughout the course,
you will be expected to work on your own short radio play and have extracts
workshopped each week. Learning how to criticize constructively and rewrite
texts will be a core element of this course.

21
Assessment
There will be either an assessed class-based exercise or a homework exercise
the work, but there will be no formal written report at this stage.
In Week 10 you will be expected to submit a ten-minute radio play and a critical
appraisal (300 words approx.) for your final assessment. The critical appraisal is
a short critique of your work in which you could discuss the source of the work
and/or its influences, its development, the effect of the changes made through
drafting and your own final assessment of work. This is to provide evidence of
Script: 80%
Reading List
Bennett, Alan The Complete Talking Heads, BBC, 1998
Crook, Tim Radio Drama, Routledge, 1999
*Pownall, David, Radio Plays, Oberon Books, 1998
Stoppard, Tom The Plays for Radio (1964 – 1991) Methuen, 1990
Taylor, Val Stage Writing, Crowood Press, 2002
* key text.
READING AND WRITING FAIRYTALES
Course Description
Fairytales are as old as humankind. Along with myths and moral tales, fairytales
have been handed down from one generation to the next since long before they
were written down by collectors such as the Grimms or Charles Perrault. The
fact that the same tales occur across cultures, albeit with variations to take
account of different times and social customs, is evidence of their power and
importance. We learn these tales as children, and hand them on to our own
children, but they have serious adult purposes as well and have been
incorporated in modern adult fiction by writers such as Margaret Atwood, A. S.
Byatt, Angela Carter and Susanna Clark. In this course we will consider
fairytales in all their fascination, looking at tales from our own culture and from

22
Africa, India and China, and at how modern authors have used them in their
work.
Aims and Objectives
The emphasis of the course is on promoting writing, discussion and imaginative
and critical exploration of fairytales. Each week will cover a different aspect of
constructing fiction, with reference to particular tales and involving practical
exercises. Students will have every opportunity of producing work for peer
review and tutor feedback during the unit, with the aim of working towards
producing a sustained piece of original fiction accompanied by a critical
reflection on their writing process.
Learning and Outcomes
By the end of the course students should be able to:
• Demonstrate an understanding of what constitutes fairytale, its place in
the literary world and its readership.
• Identify and be aware of the crucial components of fairytales.
• Develop an awareness of the market for the genre and its sub-genres.
• Create authentic fairytales within an appropriate modern setting,
demonstrating an awareness of the essential components of fairytale in
terms of style, content, structure and characterisation.
• Complete an original tale and an accompanying critical analysis.
There will usually be 10 two-hour workshops, to include discussion, analysis of
selected texts and writing exercises. Supporting printed materials will be
supplied, but students will also be expected to read all the selected texts and as
widely as possible from a secondary reading list. Students will be given ample
opportunity to present their work for constructive discussion and feedback in the
group. Students will be offered one individual tutorial during the course.
Assessment
By week four/five students should submit a 500 word piece in which they begin
to display an understanding of the structure and function of fairytales.
By week ten, students will have produced a tale of 1000 – 2500 words, or a
2000 word opening of a longer piece, together with a 500 word summary of the

23
rest of the piece. This will be accompanied by a 300 – 500 word critical
appraisal of their work, demonstrating that the student has carried an idea
through by way of revision and has understood the genre and its specific
demands.
Class-based exercise: 10%
Critical appraisal 10%
Story/novel opening 80%
Reading List
Primary Texts
Andersen, H. C. Fairy Tales, tr. Nunnally, T. ed. Wallschlager J., Penguin
Classics 2004
Calvino I., Italian Folktales, Penguin Classics 2000
Carter A., The Bloody Chamber, Vintage 1985
The Annotated Brothers Grimm, ed. Tatar M., Norton 2004
The Oxford Book of Modern Fairy Tales ed. Lurie A., Oxford University Press
1993
Perrault C. Fairy Tales, Dover 1969
The Virago Book of Fairytales, vols I & II, ed. Carter A.
Secondary Texts
Booker C. The Seven Basic Plots, Continuum 2004
Briggs K An Encyclopaedia of Fairies, Pantheon 1976
Duffy M. The Erotic World of Faery, Cardinal 1989
Jung C. G. Four Archetypes: Mother, Rebirth, Spirit, Trickster, Routledge
Classics 2003
*Warner M. From the Beast to the Blonde: On Fairy Tales and Their Tellers,
Vintage 1994
*Warner M. No Go the Bogeyman: Scaring, Lulling and Making Mock, Chatto &
Windus 1998
* Required reading
The emphasis of this course is on writing practice rather than critical analysis.
The required texts are widely available in paperback from good booksellers and
the University library. The primary texts are the collections from which the
course will be taught but, of course, there are many alternative collections of the
tales of Andersen, Perrault and the Brothers Grimm which students can use if
they prefer. Copies of relevant extracts from both sets of texts will be provided.

24
CRIME WRITING
10 Credits, Level 1
Course Description
Although crime fiction is the most successful form of popular writing today, it
originates only from the mid nineteenth century. Using a combination of
practical exercises and an examination of the work of some of the most
successful writers in these two genres, the course aims to equip those who
have some experience of creative writing with the skills to develop their own
fictional work.
The course comprises practical writing exercises, discussion and critical
appraisal of different forms of the genres. Students will be encouraged to
develop their own sustained piece of writing and there will be opportunities for
feedback during the course.
Aims and Objectives
The main aim of the course is to encourage you to write, to enjoy it and to
continue writing.
● to consider different sources for stories
● to research
● to encourage students to keep a notebook
● to use the imagination and memory
● to observe and listen
● to familiarise students with some published work of these genres
● to create intrigue and ‘the hook’
● to develop characters
● to develop a plot
● to examine the difference between 'Show' not 'Tell'
● to write dialogue
● to write description
● to link character and time/place
● to introduce students to crime fiction
Learning Outcomes
● discuss the ingredients of crime fiction
● be familiar with some work of these genres

25
● write a short story (demonstrating an understanding of the workings
of either of these genres including character and plot development,
intrigue, effective dialogue and narrative unity)
● keep a notebook/writing journal
.
Assessment
In the last week you will be expected to submit a short story of 1500-2000
words (or two shorter pieces – please include word count) and a critical
course.
Short story: 80%
READING LIST
Fiction
Agatha Christie: The 4.50 From Paddington. Pan Books. 2005
A.C. Doyle: The Sherlock Holmes Stories.
P.D. James: Death of An Expert Witness
Georges Simenon: The Maigret Series (All in Penguin)
Edgar Allen Poe: Tales of Mystery & The Imagination
Ruth Rendell: The Inspector Wexford Novels
NON FICTION
H.R.F. Keating – Writing Crime Fiction: A& C Black, 1994
D.P. Lyle – Forensics For Dummies: Wiley Pubg. Inc.2005

26
Barry Turner – Crime Writing: Pan Books 2004
Douglas Wynn – Crime Writer’s Handbook: Alison & Busby, 2004
HORROR AND THE SUPERNATURAL
10 credits at level 1
This unit aims to provide an introduction to the writing of horror and
supernatural fiction. A framework will be given offering guidance to writers new
to these genres. In addition, some assignments will be suggested to develop
skills. Critical comment on students’ work will be offered in a forum situation,
although detailed analysis will not be possible. The emphasis will be on
discussion, experiment and evaluation of work and analysis will also be made of
short works in both genres.
Students will be encouraged to explore, discuss and develop an understanding
of:
possible sources for material for writing
their experience of the writing process
their concept of the genres
Learning Outcomes
By the end of the unit, students should be able to:
● write two short pieces of supernatural and horror
● show an understanding of redrafting & revision
● show an understanding of some basic technical issues in writing:
e.g., use of dialogue, point of view, creation of suspense in narrative
● keep a writing notebook/journal
Teaching and Learning
The unit usually consists of 10 two hour seminars. The class will provide an
active learning environment, comprising in-class exercises, discussions of
readings of work in the genres and constructive commentary on shared work.
Reading material will include handouts of excerpts from published sources.

27
Key Reading
This is a short list, only intended as an introduction to the genres.
Algernon Blackwood: Tales of The Uncanny & The Supernatural
E.F. Benson: The Collected Ghost Stories
Robert Hardy & Antony Shaffer: The Wicker Man
M.R. James: Ghost Stories of M.R. James
Stephen King: The Shining& Night Shift
E.A. Poe: Tales of Mystery & Imagination
R.L. Stevenson: Dr Jekyll & Mr Hyde
Bram Stoker: Dracula
WRITING HISTORICAL FICTION
for those who have some experience of creative writing.
Although modern historical fiction has enjoyed great popularity since its
“founding father”, Walter Scott, was publishing in the early 19th
century, recently
– with the success of novels such as Captain Corelli’s Mandolin and Girl With A
Pearl Earring – it has attracted unprecedented attention. By a combination of
practical exercises and an examination of modern historical fiction and its sub-
genres, this course will seek to enable students to develop a sustained piece of
historical fiction of their own.
Aims and Objectives
The emphasis of the course is on promoting writing, discussion and imaginative
and critical exploration of a range of historical fiction. Each week will cover a
different aspect of constructing fiction, with reference to specific novels and
involving practical exercises. Students will have every opportunity of producing
work for peer review and tutor feedback during the unit, with the aim of working
towards producing a sustained piece of original fiction accompanied by a critical
reflection on their writing process. Students will also briefly consider the
difference between “literary” and “popular” historical fiction and survey sub-
genres such as romances and murder mysteries.
Learning and Outcomes
By the end of the course students should be able to:
• Demonstrate an understanding of what constitutes historical fiction, its
place in the literary world and its readership.
• Identify and be aware of the crucial components of historical fiction.

28
• Develop an awareness of the market for the genre and its sub-genres.
• Create authentic historical characters within an appropriate setting,
demonstrating an awareness of the particular issues surrounding the role
of research, fact versus fictional truth, and the appropriate use of dialogue
and descriptive writing in recreating a past environment.
• Write an historical short story or the opening of a longer piece with an
accompanying critical analysis.
Course Structure
There will be 10 two-hour workshops, to include discussion, analysis of selected
texts and writing exercises. Supporting printed materials will be supplied, but
students will also be expected to read all the selected texts and as widely as
possible from a secondary reading list. Students will be given ample opportunity
to present their work for constructive discussion and feedback in the group.
Students will be offered one individual tutorial during the course.
Assessment
By week four/five students should submit a 500 word piece in which they adopt
the voice of a real historical character and give a fictionalised account of an
event in which that character played a role.
By week ten, students will have produced a short story of 1000 – 2500 words, or
a 2000 word opening of a longer piece, together with a 500 word summary of
the rest of the piece. This will be accompanied by a 300 – 500 word critical
appraisal of their work, demonstrating that the student has carried an idea
through by way of revision and has understood the genre and its specific
demands.
Class-based exercise: 10%
Critical appraisal 10%
Story/novel opening 80%
Reading List
Fiction
Ackroyd, Peter, The Clerkenwell Tales (Chatto and Windus 2003); Hawksmoor
(Abacus 1986)
Ali, Tariq, The Book of Saladdin (Verso 1998)
Byatt, A. S., Possession (Chatto & Windus 1990)
Carey, Peter, The True History of the Kelly Gang (Faber 2001)
Chevalier, Tracy, The Lady and the Unicorn (Harper Collins 2003)
Davies, Lindsey, Falco on the Loose (Arrow Books 2003)
Dickens, Charles, A Tale of Two Cities (Penguin Classics 2000)

29
Eco, Umberto, The Name of the Rose (Picador 1984)
Guterson, David, Snow Falling on Cedars (Bloomsbury 1995)
Harris, Robert, Fatherland (Arrow 1993)
Lovric, M. R., Carnevale (Virago 2002)
Martines, Lauro, Loredana (Jonathan Cape 2004)
Pargeter, Edith, The Heaven Tree, The Green Branch, The Scarlet Seed
(Warner Futura 1993) –
Rathbone, Julian, The Last English King (Abacus 1998)
Scott, Walter, Ivanhoe (Penguin Popular Classics 1994)
Seton, Anya, Katherine (Coronet, first published 1954)
Unsworth, Barry, Morality Play (Penguin 1996)
Waters, Sarah, Tipping the Velvet (Virago 1999)
Non-Fiction
Lukacs, George, The Historical Novel (Merlin Press 1962)
Martin, Rhona, Writing Historical Fiction (A & C Black)
Oliver, Marina, Writing Historical Fiction: How To Create Authentic Historical
Fiction And Get It Published (How To Books)
Woolley, Persia, How To Write And Sell Historical Fiction (Writers’ Digest
Books)
There is also a range of Writers’ Guides to everyday life in different historical
periods published by Writers’ Digest Books. They are all by different writers and
tend to be of varied usefulness and accuracy.
The Historical Novel Society publishes four reviews per annum and two editions
of its magazine, Solander, which includes short fiction as well as articles of
interest to historical writers. www.historicalnovelsociety.org
WRITING MORE PROSE FICTION:
Developing Your Prose Writing and Reading Skills
20 credits at level 2 (20x2 hour workshops)
For those who have completed level 1 Writing Prose Fiction (An Introduction) or
equivalent.
This twenty week unit is specifically designed to allow students to develop their
knowledge and practice of writing and reading prose; to engage in a weekly
workshop of student’s writing, guided by the tutor, and to offer individual
presentations on aspects of prose writing. This material is covered in the level 1
units Introduction to Creative Writing: Prose Fiction (focusing on the short
story), Memoir Writing and Popular Fiction. Students would be expected to have
successfully completed at least one of these introductory units; to have gained

30
familiarity with matters of style, form and technique. Students with a background
in literary studies would probably have the necessary understanding for this
course. This level 2 unit is an ideal preparation for the level 3 Diploma in
Creative Writing or the more specialist Diploma in Advanced Fiction offered by
UEA’s Continuing Education Department.
The course will focus on writing a variety of prose so that writers can work on
pieces in their chosen sub-genre. For instance, mystery, romance, fantasy, sci-
fi, crime fiction, autobiographical writing and stories for children may be
submitted.
Aims and Objectives
The Aims of the unit are:
To develop an understanding of the variety of styles of prose
To develop and support the student’s own prose writing abilities
To encourage and support individual writing, and foster a positive
atmosphere for group workshop
To offer a progression route for those who have completed an introductory
unit in prose fiction or another appropriate Certificate in Creative Writing
course and who wish to prepare for the level 3 Diploma in Creative Writing or
in Advanced Fiction
Specific Objectives are:
To provide the opportunity to acquire and practice workshop skills
To give students an insight into the variety and techniques of prose writing
To provide students with the opportunity of giving short presentations on
aspects of prose writing for example using first or third person narrators;
creating tension; writing beginnings; comparing two versions of a piece of
writing or on a piece of published writing of their choice
Togivestudents practiceindraftingandrevisinginresponsetopeer andtutor feedback
To facilitate each student’s preparation of a portfolio of prose writing with a
critical response to their own creative processes
Broader Educational Objectives:
The unit is also intended to develop:
A commitment to study at university level
Independent thought and study
Analytical and critical ability in considering published writing, work by peers in
the group as well as the student’s own work
Originality and experimentation in creative writing
Critical and imaginative appreciation of a variety of short prose works
supplied by the tutor
Learning Outcomes
By the end of the unit students will be able to:

31
Show a knowledge of style, form and technique in prose writing; relate this
understanding to their own writing
Identifyspecific skills intheirownwork, that of theirpeers andinpublishedpieces
Offer informed constructive feedback to peers in a workshop setting
Respond creatively to feedback offered by peers in a workshop setting
Prepare and present ideas and insights on prose writing, both orally and in
writing
Write prose works with close attention to drafting and editing in order to
produce skilful, accurate work
Assessment
Assessment will demonstrate engagement with the learning outcomes:
Semester 1 % weighting
Prose writing (1) of between 1500- 2000 words (20%)
A critical appraisal of this work (300 words), including an
assessment of the creative processes involved in its
writing (10%)
These two components are to be submitted by week 10 and
together comprise up to 30% of the complete assessment
weighting.
Semester 2 % weighting
Prose writing (2) of between 2000- 3000 words (40%)
A critical appraisal of this work (500 words), including an (10%)
assessment of the creative processes involved in its writing
Informal short class presentation in second semester on a
specific aspect of prose writing or on a piece of published
fiction chosen by the tutor (10%)
These three components are to be submitted by week 19
and together constitute up to 60% of the complete
assessment weighting.
Semesters 1 and 2
Students will be assessed on the contribution they make to (10%)
class discussions and workshops during the entire 20 week
course; this component contributes up to 10% of the final
assessment.
Session twenty is the deadline for the final assignment of the
unit (60%)

32
The last 10% of the grade will come from an assessment of the contribution
made by the student to class discussions and workshops over the whole 20
week course.
Advice will be offered on progression routes and ways of submitting work to a
wider audience.
Suggested Reading
You are encouraged to read widely. When reading, try to read as a writer,
thinking about the techniques used and the effects achieved and attempting to
apply what you learn in your own writing.
The following are recommended starting points. You are strongly recommended
to follow up interests in individual writers.
Some books of practical exercises and advice:
Bell, J., Magrs, P (eds.) Creative Writing Coursebook, Macmillan, 2001
Brande, Dorothea (1996) Becoming a Writer, Pan.
Cameron, Julia (1994) The Artist’s Way, Dan Books.
Casterton, Julia (2005) Creative Writing, a Practical Guide, Palgrave Macmillan.
Grenville, Kate (2001) Writing from Start to Finish, a Six Step Guide, Allen and
Unwin.
Kaplan, David Michael (1997) Rewriting, a Creative Approach to Writing Fiction,
A and C Black.
King, Stephen (2000) On Writing, Hodder & Stoughton.
Lodge, David (1992) The Art of Fiction, Penguin.
Sheriff, John Paxton, Practical Short Story Writing, Hale, 1995
Christopher Vogler, The Writer’s Journey: Mythic Structure for Writers, 1998
The Writers’ and Artists’ Yearbook, A & C Black (annual)
The Writers' Handbook, Macmillan (annual)
Photocopied short stories and extracts from prose works will be given out in
class.
Websites:
www.writing.org.uk
www.author-network.com
www.bbc.co.uk/writersroom
www.stridemagazine.co.uk
www.theshortstory.org.uk
Students are expected to have an email address and be able to navigate the
internet.

33
WRITING MORE POETRY:
Developing Your Poetry and Workshop Skills
20 credits at level 2 (20 x 2 hour workshops)
For those who have completed the level 1 unit Writing Poetry (An Introduction),
or equivalent.
This twenty week unit is specifically designed to allow students to develop their
knowledge and practice of contemporary poetry-writing; to engage in a weekly
workshop of student’s poetry guided by the tutor, and to offer individual
presentations on aspects of contemporary poetry. It is open to all, but a basic
familiarity with poetic forms and techniques would be useful. This material would
be covered in the level 1 unit Creative Writing: Introduction to poetry. This level
2 unit is an ideal preparation for the Diploma in Creative Writing: Advanced
Poetry offered by UEA’s Continuing Education.
Aims and Objectives
The Aims of the unit are:
To develop an understanding of the scope of contemporary poetry
To develop an understanding of student’s own poetic abilities and poetic
projects
To encourage and support individual writing, and foster a positive
atmosphere for group workshop
To offer a progression route for those who have completed an introductory
unit in poetry, and a preparation for the Diploma in Advanced Poetry offered
at level 3
Specific Objectives are:
To provide the opportunity to acquire and practice workshop skills
To give students an insight into the variety and techniques of contemporary
poetry
To provide students with the opportunity of giving short presentations on
aspects of contemporary poetry
To give students practice in drafting and revising in response to peer and
tutor feedback, and
To facilitate each student’s preparation of a portfolio of poetry, plus a critical
response to their own writing processes.
Broader Educational Objectives:
The unit is also intended to develop:
A commitment to study at university level;
Independent thought and study
Analytical and critical ability in considering published poetry, your own poetry,

34
and the poetry of your peers;
Originality in creative writing and in critical and imaginative appreciation of
contemporary poetry
Learning Outcomes
By the end of the unit students will be able to:
Demonstrate a knowledge of contemporary poetry, particularly as it reflects
on their own practice.
Identify specific poetic skills in their own work, that of their peers and in
contemporary published poetry
Offer informed feedback to peers in a workshop setting
Respond creatively to feedback offered by peers in a workshop setting
Prepareandpresentideas andinsights oncontemporarypoetryorallyandinwriting
Write a selection of poetry with informed imaginative and editing skills
Assessment
Assessment will demonstrate engagement with the learning outcomes:
A portfolio of 4-6 poems, including at least one formal poem
A 500-wordcommentaryonacontemporarypoem (anypoem writtensince1960)from
theperspectiveof awriter. This maybeapoem whichthestudenthas discussedintheir
class presentation.
The above are to be submitted by week 9 and are worth 30% of the complete
assessment weighting
A final portfolio of 6-8 poems, including at least one formal poem. One of
these poems may be a revised version of a poem submitted in week 9.
A further 500 word commentary on a contemporary poem, from the
perspective of a writer. This may be a poem which the student has discussed
in their class presentation.
A 1000 word critical self-commentary, engaging with the student’s own
learning and writing processes as reflected in their portfolio.
These assignments are to be submitted by week 19 and constitute 60% of the
complete assessment weighting
A workshop contribution grade acknowledging the student’s input in class
discussion, workshop and presentation throughout the unit, constituting 10%
weighting.
N.B. Thelengthofeachpoemis left tothestudent’s discretion; as ageneralguide,poems
shouldbebetween10and20lines inlength.Longerandshorterpoems areperfectly
acceptablebutthestudent is advisedtoconsider ‘balancing’theoverallportfolioinlengthof
poems. If indoubt, consult thetutor or Academic Director.
Weekly presentations should comprise one or two contemporary examples
which illustrate the subject of the presentation (sonnet, rhyme, etc) plus
approximately 500 words of comment or introduction to the topic under

35
discussion. Students should provide the class with a one-side handout plus a
copy of the chosen poem(s).
Suggested Reading
Students are encouraged to read widely in contemporary poetry. The following
are recommended starting points. Students are strongly recommended to follow
up interests in individual poets by obtaining individual collections of their work.
Some books of practical exercises and advice:
Julia Bell & Paul Magrs (eds), The Creative Writing Coursebook (Macmillan)
James Fenton, An Introduction to English Poetry (Viking)
Peter Sansom, Writing Poems (Bloodaxe)
Steve Kowit, In the Palm of Your Hand: The Poet’s Portable Workshop
(Tilbury House) (Highly recommended!)
Kim Addonizio & Dorianne Laux, The Poet’s Companion: A guide to the
pleasures of writing poetry (Norton)
A collection of practioners commenting on their craft:
WN Herbert & Matthew Hollis (eds), Strong Words: Modern Poets on Modern
Poetry (Bloodaxe)
When reading contemporary poetry, try to read as a writer, thinking about the
techniques used and the effects achieved and attempting to apply what you
learn in your own writing. The following anthologies offer a range of work by
established and contemporary poets:
Simon Armitage (ed), The Penguin Book of Poetry from Britain & Ireland
Since 1945 (Penguin)
Neil Astley (ed), The New Poetry ; Staying Alive; Being Alive (all Bloodaxe)
Peter Forbes (ed), Scanning the Century: The Penguin History of the 20th
Century in Poetry (Penguin)
Edna Longley (ed), The Bloodaxe Book of 20th
Century Poetry (Bloodaxe)
Don Paterson & Jo Shapcott (eds), Last Words: New Poetry for the New
Century (Picador)
JoShapcott &MatthewSweeney(eds), Emergency Kit:Poems forStrangeTimes (Faber)
Websites:
www.poetrysociety.org.uk
www.poetrylondon.co.uk
Other websites will be circulated by the tutor. All students are expected to have
an email address and be able to navigate the internet.

36
More Script and Screen Writing:
Developing your Drama Writing and Reading Skills
20 credits at level 2
For those who have completed An Introduction to Script and Screen
Writing at level 1, or equivalent.
The Script and Screen Writing, Level Two aims to develop and reinforce basic
skills in dramatic writing, dramaturgy and script analysis, while introducing key
concepts in the film, television, stage and radio performance modes. It will
provide an opportunity for mature, adult students to improve their skills beyond
the basic levels developed in the Introduction to Script and Screen Writing and
will provide a bridge to the Script and Screenwriting Diploma at level 3.
Students should have completed a level 1 Introduction to Script and Screen
Writing or equivalent to be properly prepared for this course.
Aims and Objectives:
• To deepen the understanding of the basic concepts of dramatic writing.
• To recognize the limits and opportunities in each performance mode.
• To learn to analyze dramatic material.
• To consider the basic principles of dramatic adaptation.
• To enhance basic dramatic writings skills first introduced in Introduction
To Script And Screenwriting. (Including story development, plot/structure,
character, dialogue and scene style.)
• To develop and write original scripts of greater length and complexity than
those developed in Introduction To Script And Screenwriting.
• To learn to critically appraise their own work and the work of other
students.
• To develop rewriting and development skills.
Learning Outcomes
By the end of the program, students should be able to:
Develop and plot a short script.
Create believable characters.
Outline and synopsize scripts as a development process.

37
Plan longer works in formats and lengths appropriate to the particular
performance mode.
Write effective dramatic scenes in a format appropriate to the particular
performance mode.
Discuss scripts and story development with some ease.
Write short scripts and develop the material through successive drafts.
(Two shorts scripts, each 1,500 to 5,000 words. Or development/outline
and synopsis of a longer work and a 2,000 to 5,000 excerpt of the piece.)
The teaching methods will include:
Class lecture and discussion on the basic concepts of dramatic writing.
Short readings of published scripts, original source material and
critical/theoretical works in the field.
Film screenings to illustrate key concepts.
Writing exercises to develop confidence in basic skills of scene work,
character and story development.
Script development workshops, with tutor-led discussions of work in
progress.
Students will be assessed on a portfolio that will include:
Two Class Exercises (20%) to be completed in the first term.
One fifteen minute script and one twenty-five minute script. OR, one
fifteen minute script and the preparation and opening of a full-length piece
(70%) to be completed by the last week of the course.
A self-assessment (each 700 words) of the writing process for each of the
two scripts in the portfolio (10%) to be completed by the last week of the
course.
Key Reading
Ball, David Backwards & Forwards, Southern Illinois Univ. Press, 1983
Field, Syd Screenplay, Dell, 1979
Hutcheon, Linda, A Theory of Adaptation, Routledge, 2006
McKee, Robert Story, Methuen, London, 1998
Dancyger, K. & Rush, J. Alternative Scriptwriting, Focal Press, 2002

38
Taylor, Val Stage Writing, Crowood Press, 2002
Vorhaus, John The Comic Toolbox, Silman-James Press, 1994
TRAVEL WRITING
for those who have some experience of creative writing.
This course will look at the development of travel writing over the last fifty years;
it will examine a wide selection of texts and offer opportunities for writing and
developing short pieces of non-fiction writing based on place and travel.
Aims and Objectives
Overall, this course aims to provide opportunities for students to explore and
enjoy creative writing based on place. As they work on pieces of their own,
students will have the benefit of a small and friendly audience that is in the
process of developing a vocabulary for discussing this genre, and they will have
the chance to extend their understanding of the possibilities of the genre
through reading examples of a range of contemporary published travel writing.
Specific aims
For students to develop an awareness of the following:
• possible sources and contexts for travel writing from their own lives and
memories
• what is available from external resources – and how to research historical and
other sources
• how to deploy description, characterization and dialogue
• differences in tone and voice, issues of authority
• how to structure and write compelling travel articles and essays
• the importance of revision in the creative writing process
• how to prepare for future travel writing projects employing primary sources –
using notebooks, sketchbooks, cameras – and secondary sources

39
Learning Outcomes
By the end of the unit, students will be able to:
• Write a short piece of non-fiction based on place, revise it, and discuss
ways in which it could be developed further
• Make plans for future travel writing projects
• Write a reasoned analysis of a published piece of travel writing, showing
awareness of structure, tone and rhetorical features such as the use of a
persona
• Discuss some of the ethical issues raised by this form
Teaching and Learning
The unit will consist of ten two-hour seminars. The class will provide an active
learning environment where all are expected to participate in in-class exercises,
ongoing discussion of the readings and constructive commentary on shared
work. Reading materials will include: handouts of short pieces of travel writing
and excerpts from book-length travel writings.
Assessment
One short analysis of a published piece of travel writing of at least 500
words assessed at 10%.
One short travel article or essay (1500-2000 words) assessed at 80%.
A critical appraisal (maximum 300 words) of the student's own work, noting
how their writing has developed during the course (10%).
Suggested Reading
Granta Magazine – Its first editor Bill Buford was responsible for the
development of the current style and popularity of literary travel writing.
Particularly recommended is No 20: In Trouble Again:1987 with articles by
Redmond O’Hanlon, Salman Rushdie and Martha Gellhorn. No 26: Travel, No
94:On the Road Again: Where Travel Writing Went Next, 2006. Penguin Books
Bill Bryson The Lost Continent: Travels in Small-Town America, Black Swan,
1999
Bruce Chatwin In Patagonia, Vintage, 1998
Jenny Diski, On Trying to Keep Still, Virago 2006

40
Geoff Dyer, Yoga For People Who Can’t Be Bothered To Do It.
Patrick Leigh Fermor, Mani, John Murray 2004
Eva Hoffman, Exit Into History, Minerva 1994
Jonathan Keates, Italian Journeys, Picador, 1991
Claudio Magris, Danube, Harvill, 2001
Redmond O'Hanlon Trawler, Penguin, 2004
Tim Parks, Italian Neighbours, Mandarin 1992
Asne Seierstad The Bookseller of Kabul, Virago, 2004
Paul Theroux Riding the Iron Rooster: By Train Through China, Penguin 1989
Gavin Young, Slow Boats to China, Penguin, 1983
In addition to other writings by the authors included in the assigned readings,
books by the following are recommended: William Dalrymple, Jan Morris, Eric
Newby, Jonathan Raban, Colin Thubron, Timothy Garton Ash and Norman
Lewis
WRITING FOR CHILDREN
For those who have some experience of creative writing.
Children are perhaps the most demanding as well as the most satisfying
audience to write for. They require imaginative and original work; the myth that
children’s writing is in some way inferior to that of adults has long been
exploded. Learn how to create stories that will appeal to children today and
what does and does not work for this readership. The unit covers teen and pre-
teen children’s writing and looks at current publishing trends. Though mainly
concerned with writing fiction, the unit will also provide some time to explore
children’s poetry.
Aims and Objectives
The main aim of the course is to encourage you to explore the different ways of
writing for children and to be aware of contemporary trends, and how to present
your own ideas in an accessible format.
Specific Objectives
• to consider sources for children’s stories, and children’s poetry
• to learn how to structure a plot and sustain narrative drive
• to discover how to write from a child’s point of view
• to learn how to write humorously in a way that will appeal to children
• to distinguish between different age groups for children’s stories
• to examine how to create worlds of fantasy and magic

41
• to examine how animals can be used in stories, taking either a naturalistic
or an anthropomorphic approach
• tofamiliarizestudents withclassic examples ofcurrentchildren’s fictionandpoetry
Learning Outcomes
• discuss thedistinctiveingredients of achildren’s storyandchildren’s poetry
• be familiar with some current publishing trends in children’s writing
• distinguish between writing for older and younger age groups
• writeashortstoryorlongerstoryextract, and/orpoetrysuitablefor children
Course Structure
discussions and weekly assignments. We will analyse several examples of
published children’s fiction and poetry, as well as share work and ideas in class.
Assessment
In Week 10 you will be expected to submit a short children’s story or chapter
of 1500-2000 words, or a selection of children’s poetry, or a combination of the
two disciplines and a critical appraisal (300 words approx.) for your final
assessment. The critical appraisal is a short critique of your work in which you
could discuss the source of the work and/or influences, its development, the
effect of the changes made through drafting and your own final assessment of
work. This is to provide evidence of knowledge, understanding and skills
achieved as a result of the course.
Short children’s story or story extract, and/or poetry : 80%
We suggest you read some of these books before the course and others by
these authors.
Alan Ahlberg Each Peach Pear Plum Viking 1970
Francesca Simon Horrid Henry Dolphin Orion 1994

42
Anthony Horowitz Ark Angel Walker Books 2005
Julia Donaldson The Gruffalo Macmillan 1999
Eric Carle The Very Hungry Caterpillar Puffin 1970
Beth Webb Start Dancer Macmillan 2006
Tim Bowler River Boy O.U.P. 1997
Julia Bell Massive Macmillan 2003
Paul Cookson ed The Works (poetry anthology) Macmillan, 2000
Anne Fine, Flour Babies Puffin, 1994
Philip Pullman Northern Lights, Scholastic 1998
Lemony Snicket A Series of Unfortunate Events, Egmont 2002
Jill Tomlinson The Owl Who Was Afraid of the Dark Egmont 2000
Jacqueline Wilson The Illustrated Mum Corgi, 2000
SCIENCE FICTION AND FANTASY
For those who have some experience of creative writing
Course Description
This course is for people interested in writing short Science Fiction and Fantasy.
You may have done little or no short story writing before, but have an interest in
writing in this particular genre. Or you may have written stories but had little or
no feedback. This course will highlight the main elements that make up an
effective short story, with a particular emphasis on Science Fiction and Fantasy.
Aims and Objectives
The main aim of the course is to encourage you to write Science Fiction and/or
Fantasy, to enjoy it, and to continue writing after the course has concluded.
Specific Objectives
• to consider different sources for stories, such as speculated futures based on
present cultural trends, and re-imagined pasts
• to create a plausible, consistent imagined world
• to encourage students to keep a notebook of ideas, observations, dreams,
etc.

43
• to familiarise students with some published Science Fiction and Fantasy
short stories
• to create believable characters
• to develop a plot
• to examine the difference between 'Show' not 'Tell'
• to write dialogue
• to write description
• to link character and time/place
• to introduce students to different forms of narrative
Learning Outcomes
• discuss the ingredients of a short story in the genre
• be familiar with some published Science Fiction and Fantasy short stories
• write a Science Fiction and/or Fantasy short story, demonstrating an
understanding of the workings of fiction including character and plot
development, effective dialogue and narrative unity
Course Structure
discussions and weekly assignments. We will analyse a published short story
every week, as well as share work in class. You will also be encouraged to read
stories in the genre as the course progresses, as well as more general short
stories, and periodicals such as daily newspapers and specialised publications
such as The New Scientist.
Assessment
set in the third or fourth week worth 10% of the overall final mark. Tutors will
give informal feedback on the work but there will be no formal written report at
this stage.
In Week 10 you will be expected to submit a short Science Fiction or Fantasy
story of 1500-2000 words (or two shorter pieces, which could be one of
each – please include word count) and a critical appraisal (300 words
approx.) for your final assessment. The critical appraisal is a short critique of
your work in which you could discuss the source of the work and/or influences,
its development, the effect of the changes made through drafting and your own

44
final assessment of work. This is to provide evidence of knowledge,
understanding and skills achieved as a result of the course.
Short story: 80%
Texts specifically concerned with the techniques of writing include:
Julia Bell & Paul Magrs, The Creative Writing Coursebook, Macmillan, 2001
pub. 1934)
Natalie Goldberg Writing Down the Bones, Shambhala, 1986
King, Stephen, On Writing, Hodder & Stoughton, 2000
David Lodge, The Art of Fiction, Penguin, 1992
John Paxton Sherriff, Short Story Writing, Robert Hale, 1995
Two anthologies that are recommended:
Shippey, Tom (ed.), The Oxford Book of Science Fiction Stories, Oxford
University Press, 2003
Dozois, Gardner (ed.), Modern Classics of Fantasy, St. Martin’s Griffin, New
York
Students at the UEA will have full use of the library. Elsewhere, book boxes will
be provided.
Award of Credit
On successful completion of this course, which includes completing the
coursework and meeting attendance requirement, students will gain 10 Credits
at Level 2. Students should normally attend at least 7 course meetings and
satisfactorily complete course work.

45
E Coursework & Assessment
For each unit students will be expected to produce work amounting to not less
than 2,000 words or the equivalent. The nature and length of individual
assignments will vary from unit to unit but are likely to include the following:
• Writing a short story/ poetry/ script/ memoir.
• Critical appraisals (reflecting on other writers and the process of writing).
• Workshop based exercises involving specific texts and themes.
There are no exams. See each individual unit for more detail.
The aim of assessment is:
• to help students get the best out of the course.
• to help students develop their critical faculties.
• to ensure that real learning has taken place on an individual basis.
• to help tutors contribute to the student’s learning through a process of
sympathetic and constructive criticism of the student’s work.
F Teaching and Learning
There will normally be 10 x 2 hour workshops which will include class exercises,
discussions and weekly assignments, though the format may vary between
venues. Our tutors will read and give feedback on work for mid term and final
assignments, and though they regret they are unable (through time constraints)
to read additional work from students outside of the sessions, will encourage
regular in-class discussions, and strongly advise students to exchange work
with each other via email.
The units will be taught by a team of dedicated, part time tutors who are all
experienced and practicing writers. Students will be given guided reading before
and during the course and will be expected to undertake preparatory reading in
advance of class sessions and in relation to coursework.

46
G Teaching Team
Sue Atkinson spent most of her working life in Primary education – teaching,
researching, lecturing. She has published several books for teachers and
children with Hodder and Cambridge University Press, and Supermaths
(mathematical stories and rhymes) with Hodder Children’s Books. Her Mrs
Noah’s Rainy Day (Lion) was taken over by Cadbury World. She has published
children’s stories and rhymes in anthologies such as Song of the Morning
(Lion). Her life writing includes Breaking the Chains of Abuse (Lion).
Sarah Bower works as a reader for a well known literary consultancy and is
involved in literature development as well as teaching creative writing in
Continuing Education at UEA. She completed an MA in Creative Writing at UEA
in 2002. She has been published in magazines as various as MsLexia and
British Industry and was UK editor of the Historical Novels Review for more than
two years. Her short story, The Archaeology of Ironing, won the 2005 Norwich
Cafe Writers Short Story Competition. Her first novel, The Needle in the Blood,
about the making of the Bayeux Tapestry, was published by Snowbooks, in May
2007.
Mary-Jane Cullen is a writer and BBC journalist, beginning her career in radio
in the Midlands, moving to Sussex and finally East Anglia. The many authors
she met and interviewed while a radio presenter helped fire her desire to write
romantic fiction and she has now published stories in the small press and in
women's magazines such as Women's Weekly, Bella and That's Life in
Australia. She is currently working on a manuscript for Mills&Boon in between
writing news stories for BBC Online.
Dr Laura Fish is a writer of Caribbean parentage. She has over 10 years
experience in broadcast television and radio. Laura has held posts as a
Creative Writing Tutor at University of St. Andrews, Scotland; University of
Western Cape, South Africa; University of East Anglia, U.K. Her first novel
'Flight of Black Swans' was published in 1995, (London: Duckworth, 1995). Her
second novel, 'Strange Music' is due to be published in 2008 (London: Jonathan
Cape, forthcoming).
Caroline Forbes is a writer and scriptwriter. Her publications/commissions
include “The Needle on Full”, a collection of sci-fi stories, scripts for Thames
Television’s “The Bill”, Carlton Television’s “Family Affairs” and theatre
productions for Rural Arts East & Red Shift Productions. She won a Radio
Times Award for her radio play “Michelle & The Landlady” which was later
adapted and performed at the Edinburgh Fringe Festival. Caroline is also an
experienced trainer and facilitator for both enterprise and creative projects.

47
Virginia Gay has studied in the School of English and American Studies at UEA
and at The Johns Hopkins University in Baltimore, Maryland. She has
published two novels, The Rector and Penelope and Adelina, as well as shorter
pieces of non fiction. From 1991 until 1999 she lectured in writing and
communication at the University of Surrey. Since 2003 she has taught creative
writing and American Literature in the School of Continuing Education at UEA.
Martin Figura was born in Liverpool in 1956. His first collection The Little Book
of Harm was published by Firewater in 2000. His second collection Ahem was
published by Eggbox in 2005. He is a member of The Joy of 6, a performance
group. He was awarded an MA with distinction in Writing The Visual at Norwich
Art School in 2007. He has been published in several magazines, including:
Rattapallax (US), The Same (US), Smiths Knoll, The Rialto, Envoi, Seam and
Nth Position. He won the 2006 Café Writers Poetry prize.
Caroline Gilfillan spent her formative years in London working as an editor and
musician. She has an MA in Creative Writing from Lancaster University, and
teaches creative writing for the Open University, Cambridge University and
UEA. Drowned in Overspill, a pamphlet of her poetry, was published by Crocus
Books in 2000. She’s won several national short story competitions, and her
poems and short stories have appeared recently in The London Magazine,
Poetry News and Mslexia.
Helen Ivory graduated from Norwich Art School in 1998 with a BA (hons) in
Cultural studies and the following year won a Major Eric Gregory Award from
the Society of Authors. Her first collection of poetry - The Double Life of Clocks -
was published by Bloodaxe in 2002. In 2005 she was awarded an Arts Council
Grant to help work on her second collection The Dog in the Sky, Bloodaxe
2006. She also teaches BA Creative Writing at Norwich Art School, is an editor
for The Poetry Archive and Academic Director for Continuing Education.
Kelvin I Jones is one of the world’s leading authorities on Sherlock Holmes. He
has written a biography of Conan Doyle, has published poetry, crime novels,
and supernatural short stories and for a while was a professional storyteller in
Cornwall. His most recent work is a thriller for teenagers entitled “Odin’s Eye.”
Michael Laskey founded the Aldeburgh Poetry Festival in 1989, directed it
through its first decade, and is still actively involved as chairman. He has edited
the poetry magazine Smiths Knoll since 1991 and is an associate tutor at UEA.
As a poet he has published two pamphlets, three full collections and this year
brings out a New and Selected. He was shortlisted for the T S Eliot Prize in

48
2000, and awarded an Arts Council International Writing Fellowship at the Banff
Centre in Canada in 2005.
Michael Lengsfield comes to UEA from Los Angeles, where he worked in Film
and Television. As a screenwriter, he has worked for Disney, Oprah Winfrey's
Harpo Productions and HBO, among others. In addition, Michael spent many
years employed in Story Development, working for Mel Gibson's Icon
Productions, Ron Howard's Image Entertainment, Showtime Networks and the
Initial Entertainment Group, producer of this year's Best Picture, "The
Departed". He received an MFA from Columbia University in New York.
Antoinette Moses is a playwright, author and former film festival director. She
has published many short stories as well as award-winning novellas for
Cambridge University Press and the scripts for two English language teaching
videos. Five of her stage plays have received rehearsed readings and
performances in Norwich, Cambridge and Paris, and she has also written two
plays for radio. Antoinette wrote and presented two series for Channel 4 on
animation, and has a Creative Writing MA from UEA in scriptwriting. She is
currently researching authorship in verbatim theatre for a PhD. Antoinette
teaches creative writing both at UEA and abroad.
Dr Ian Nettleton has taught creative writing at the University of East Anglia
since 2001. He also teaches creative writing for the Open University,
screenwriting at Cinema City in Norwich, and has taught creative writing and
journalism at Goldsmiths College, London. He has written and presented
synopses of novels for a BBC digital channel, and appeared on Radio 4’s Open
Book, as well as contributing to the BBC creative writing website, Get Writing.
He has a novelette in an anthology of science fiction stories called Angles,
(Elastic Press, 2006), and has co-written an independent short film called
Falling Star. He is one of the contributors for the Writing Fiction Workshop – a
book on creative writing techniques (lulu.com, 2006). He has a BA and MA in
English Literature, and a Doctorate in Creative and Critical Writing from the
University of East Anglia. He is currently working on a novel set in Australia.
Anna Reckin has an MFA in Creative Writing from the University of Minnesota.
Her work has been published in England and the USA, including the Oxford
Magazine (UK), How2, Chain, and the Texas Observer. An artists-book
collaboration with photographer and typographer Paulette Myers-Rich won a
Minnesota Book Award in 2000. Her poetry pamphlet, Spill, was published by
Chibcha Press in May 2004. She is currently working on a PhD dissertation for
the State University of New York at Buffalo on contemporary American poetry.

49
Thomas Warner won a Major Eric Gregory Award for his poetry from the
Society of Authors in June 2001. His work has appeared in a number of
publications. He graduated from the UEA's Creative Writing MA in 2001 with a
Distinction, and has taught on Creative Writing Certificate and Diploma units for
Continuing Education.
H Completion of the Award
To complete the award, students must:
1. Have attended at least two thirds of the sessions.
2. Attain a satisfactory standard and satisfy the examiner in submitting each
of the pieces of work identified for each unit .
3. Amass a minimum of 60 credits from the units outlined above.
I Background reading:
Dorothea Brande, (1996) Becoming a Writer, Pan
David Lodge, (1992) The Art of Fiction, Penguin
Peter Sansom, (1994), Writing Poems, Bloodaxe
Matthew Sweeney & John Hartley Williams, (1997), Writing Poetry, Hodder &
Stoughton
More detailed information relating to published sources will be provided by the
tutor team.
J Useful Websites
www.writing.org.uk
www.author-network.com
www.bbc.co.uk/writersroom
www.poetrymagic.co.uk
www.poetrykit.org
www.poetrysociety.org.uk
www.poetrylibrary.org.uk
www.stridemagazine.co.uk

50
K Progression
Students who have completed the Certificate in Continuing Education: Creative
Writing may explore a number of progression routes. You may wish to engage
with other level one pathways, such as the Certificate in Literature, whilst for
others the most logical progression route would be onto the Diploma in Creative
Writing or Diploma in Advanced Poetry, or Advanced Fiction . Others may wish
to study at undergraduate and post-graduate level with other schools of study at
UEA. Additional guidance and advice can be sought from Helen Ivory, the
academic director for Creative Writing at the Centre, at h.ivory@uea.ac.uk or on
01603 592680. Our general helpline is 01603 591451.
L Some Important Reminders
Do
• Hand in TWO copies of your coursework.
• Remember to make a note of the ‘Welcome to UEA Day’ on Saturday 13
October 2007
• Ensure that your name is clearly printed on coursework.
• Submit your coursework with an Assessment Feedback Form attached.
Part A of the form should be completed by you.
• Contact your Course Director in advance if you think you may need an
extension of time allowed for submission of coursework.
• Ensure that you adhere to the word limits imposed for each assessment.
Flagrant disregard of word limits will be penalised.
• Inform us of any change of address, e mail address or telephone number.
• Call the Continuing Education Office if you would like to discuss a matter
that cannot be resolved by your tutor or Course Director. The Centre’s
Helpline is 01603 591451
Don’t
• Hand in coursework in bulky folders, lever arch files, or in comb bound
form (unless specifically requested to do so by your Course Director). Ideally
just hand in work, unstapled, in a simple plastic folder.
• Let problems or concerns build-up – discuss them with your Course
Director at the earliest opportunity. Most problems can be overcome!
Last revised May 2007

1 59608 Cert Creative Writing 07-08

Recommended

Recommended

More Related Content

Similar to 1 59608 Cert Creative Writing 07-08

Similar to 1 59608 Cert Creative Writing 07-08 (20)

More from Bryce Nelson

More from Bryce Nelson (20)

Recently uploaded

Recently uploaded (20)

1 59608 Cert Creative Writing 07-08