Creative Writing BA (Hons)

30 credits

On this module, students will have the opportunity to progress their creative writing skills by exploring the relationship between theory and practice. They will also explore the connection between language, form, creativity, and style. Students will be presented with a range of theoretical and contextual approaches to the production and analysis of imaginative work, and will be invited to respond to these provocations through critical and creative writing.

Students will attend interactive lectures whose themes may include adaptation, narrative techniques for literary authors, history and narrative, identity and aesthetics, and mind style etc. Students will learn more advanced practical techniques for crafting expressive, imaginative work, which will allow them to make more sophisticated use of aspects such as voice, point of view, structure, character, imagery, and tone.

Workshops will draw on the language-based disciplines of linguistics, stylistics and narratology to explore the relation between content, form and creativity. The module will entail the reading, critical analysis and discussion of texts by a variety of classic and contemporary authors, whose work reflects the diverse range of styles, influences and approaches at work today. Students can choose to experiment with writing the novel, short story, script for radio, stage or screen, or poetry.

Students will be asked to provide thoughtful, constructive feedback through peer review. Along with developing their own personal sense of voice and style, students will practise applying skills learned on the module to real-world situations faced by professional authors, such as writing a piece for a commission or for a target audience.

30 credits

This is a dissertation-style module, taught through a combination of small-group sessions and individual tutorials, in which students will have the opportunity to work on a sustained creative writing project of their choosing. They will produce a substantial piece of writing in a chosen form, having undertaken contextual reading in that form and engaged in other research as appropriate, such as location scouting, conducting interviews, or visiting archives and specialist collections. Through group workshops and presentations, as well as one-on-one tutorials, students will receive constructive feedback and guidance on how to plan, structure, write, revise, and edit their projects, and gain advice in developing the skills and habits necessary to working independently. In addition, students will learn how to plan strategies for the possible dissemination and promotion of their projects in the world outside the university, as professional authors would, such as through various methods of publication or performance. By learning to work independently and by planning the dissemination and promotion of their projects, students will acquire the entrepreneurial skills and abilities necessary for success in self-employment and in other professions.

30 credits

The UK magazine industry has never been more exciting and challenging. Despite digital and economic changes modern magazines devoted to trends and interests endure. This module looks at how these contemporary publications are positioned and how they co-operate to weave together strands of information. In this module you will learn about the contexts in which contemporary magazines operate. You will look at the current state of the periodicals sector and reflect on trends and developments by researching, originating and developing a magazine concept for a specified readership. You will build effective editorial, team-working skills and adapt these to the needs of differing audiences and objectives through the origination and production of your own magazine. You will apply journalistic skills to create a portfolio of articles and will use design and layout skills to produce a dummy magazine.

30 credits

This module is an optional period module at Level 5. We will study key texts from the nineteenth to early twentieth centuries that register the ways in which Britain is transformed by the Industrial Revolution, and which give expression to fears about technology, social mobility and urban culture. We will consider literature of the period that questions and resists established theories of gendered identity, and which challenges the literary representation of sexuality, defying censorship in the process. We will be introduced to writers who engage with contemporary debates about science, religion, the empire, and racial and national identity. And we will encounter a range of consciously modern texts which dislocate and make new the reader's experience by technical innovation and experiment. In recent years, writers studied have included Charlotte Bronte, Charles Dickens, Thomas Hardy, George Eliot, T.S. Eliot, James Joyce, and Virginia Woolf.

30 credits

Film is often seen as a director's medium, rather than a writer's. This course doesn't debate the relative claims of either – it retains a strong commitment to the visual – but its primary focus is on the construction of script and, in particular, the screenplay of the mainstream narrative film.

The cornerstone of the module is an exploration of what makes an effective screen story through analysis of dramatic structure. The tutors on this module, both experienced screenwriters, contend that all genres of screen narrative use essentially the same core principles of storytelling and that an understanding of how these principles work is a creative tool: we can use them to create our own stories and adapt them to different forms. First, through close study of several successful films – focusing in particular on structure and character – you will be taught the contribution of the screenplay to how a film is constructed and why it succeeds. Second, with particular emphasis on dialogue and the craft of visual storytelling, we will guide you to the creation and completion of your own short screenplay, providing you with models (in both film and script form) from a selection of short films, and teaching you how to present and format your script.

Students will be invited to demonstrate their knowledge of structure and screenwriting craft in analysis of a feature film. In TB2 they will pitch an original idea for a screen narrative before developing their own screenplay.

30 credits

This module is an optional period module at Level 5. It will begin by exploring literature published from the 1930s through to the present day, and will examine the strategies writers have used in response to a changing Britain and wider world. We will consider how twentieth and twenty-first-century texts adapt realist, modernist and postmodern techniques to engage with issues such as the rise of mass culture, the threat of totalitarianism, the establishment of the Welfare State, post-war immigration, and sexual liberation. To enhance your perspective on these issues, you will be introduced to non-fiction material by other contemporary writers, such as J.B. Priestley, Erich Fromm, Iris Murdoch, Ludwig Wittgenstein, Richard Hoggart, and George Lamming, as well as more recent critical and theoretical material.  The module also examines the development and continuing popularity of realist drama in the twentieth century. We will pay particular attention to the ways in which realist drama is used as a tool of social and political examination in the various contexts of pre-Revolutionary Russia, Dublin in the aftermath of the First World War, and the establishment of the welfare state in Britain after 1945. Secondly, we will examine the developments in non-realist forms of drama and the experiments which gave rise to what is, somewhat controversially, called the 'Theatre of the Absurd'. The module culminates with the study of a selection of texts chosen to illustrate the great variety of genres and styles in contemporary British literature and to exemplify literature written by different nationalities and social groups. Underpinned by relevant theoretical perspectives, questions will be raised about the relation between literature and contemporary events, with relation to issues pertinent to literature, such as social mobility, hybridity, democracy and technology. In recent years, authors studied have included Evelyn Waugh, Graham Greene, George Orwell, Sylvia Plath, Harold Pinter, Alan Hollinghurst, and Zadie Smith.

30 credits

The dissertation is a core module for all students. Under guidance from an allocated specialist member of staff, and supported by interactive workshops, you will produce a sustained piece of research, either in the form of a traditional 10,000-word dissertation or in the form of creative project and accompanying 3,000-word rationale. The module culminates in a student conference. You will work with your peers to organise this, and your contribution to it will also be assessed. An initial dissertation proposal must be submitted in September before the module begins. At the end of the module, you will have produced a critically engaged and fully developed piece of independent research.

30 credits

This module is a capstone for the Creative Writing degree. The module asks students to synthesise knowledge developed across the programme, and to articulate and apply this knowledge in professional contexts.

In the first part of the module, supported by industry professionals drawn from the programmes Industry Advisory Board, skills workshops, Kingston's Careers and Employability Service activities, and online training provision, students will develop an individually-designed digital professional portfolio that will communicate their creative talents and broader transferable skills.

In the second part of the module, students will work in small groups as miniature creative agencies on live professional briefs commissioned by industry professionals, developing both their writing and transferable skills in real work scenarios.

30 credits

This module is an optional module for all Drama and Creative Writing students at Level 6 and runs throughout the academic year.  Responding to the changing status of live performance in the twenty-first century, the module explores alternatives to the mainstream 'dramatic' tradition of playwriting. It takes into consideration how cultural shifts such as the advent of new technologies and a global community are or might be reflected in contemporary writing for the stage and in media-based performance (for example audio drama and experimental film). You will encounter a selection of play-texts and performances from the historical and contemporary avant-garde which act as prompts to your creative explorations of playwriting and performance writing methods and techniques.  You are encouraged to be experimental and innovative in your own writing, and to question the role of both the theatre and the playwright.  This is a practical and creative module that may involve performance-based exercises (for example improvisation and task-based performance) as well as writing ones.

The module develops understandings and themes encountered in DA5005 The Play Today and is particularly suited to those who achieved a pass or above in DA5001 Write Action.  The module is ideal preparation for those who are considering masters level study in playwriting, as well as those looking to pursue performance-making after graduation.

30 credits

This module examines the rich and dynamic presence of black and Asian writing in English from the mid-17th century to the present. It will explore the ways in which black and Asian writers have produced formally innovative and conceptually challenging responses to questions of race, class, gender and identity, while simultaneously making significant creative contributions to the fields of drama, prose, poetry, and life-writing. In the first half of the module, students will study a range of early texts from the mid-17th century to the 19th century from writers such as Equiano and Mary Seacole, alongside contemporary works that have reflected on black culture during this period, while the second half of the module turns to 20th century and contemporary texts by writers such as Zadie Smith, Andrea Levy, and Salman Rushdie contextualised by appropriate critical and cultural theories from thinkers such as Paul Gilroy and Stuart Hall.

30 credits

This optional Level 6 module allows you to pursue Shakespeare studies at an advanced level and is founded upon a detailed and extensive study of the writer and his works. Consideration will be given to a range of critical approaches to Shakespeare as well as the long history and dynamic status of Shakespeare in performance and adaptation, for example in relation to questions of gender, identity and globalisation. You will be encouraged to reflect upon the role of Shakespeare in culture now as well as relevant contemporary contexts such as the nature of early modern theatregoing alongside crucial political and religious conditions. Teaching on the module will be closely aligned with the rich resources available at the Rose Theatre and in particular will afford you the opportunity to participate in the stimulating series of talks and events organised as part of the Kingston Shakespeare Seminar (KiSS).

30 credits

This module traces how literature from the 19^th century to the present has concerned itself with questions of gender identity and sexuality, often offering a radical voice for those - including both women and LGBTQ+ voices - excluded from dominant and mainstream discourses. Rooted in feminist and queer theory, we will explore how feminist writing has critiqued patriarchy, how literature has challenged normative gender roles, how it has engaged with powerful questions regarding the body and the politics of desire, and how it has represented the debates within different facets of the feminist and queer community. We will also consider how writers have employed literary form and genre - for example the use of experimental writing, dramatic or poetic form, or the romance genre - and to what extent debates surrounding these forms and genre contribute to a gendered politics of cultural production. Explicitly intersectional in its approach, we will frame our discussions with an interrogation of how the politics of gender and sexuality is shaped by its relationship with questions of class, race, disability, and religion. Examples of authors studied might include Jeanette Winterson, Fleur Adock, Carol Ann Duffy, Tony Kushner, Clare Macintyre, Leila Aboulela, Mary Wollstonecraft, and Virginia Woolf.

30 credits

This challenging and interesting special study module aims to provide you with the opportunity to engage with different examples of popular fiction such as crime fiction, romance, the thriller, and science fiction. It will enable you to identify the standard practices of popular genres and understand why they succeed or fail in particular texts. It will encourage you in the critical study of narrative techniques to best learn how to apply them in a work of popular fiction. You will experiment in writing crime, SF, thriller and romance stories before choosing one or two of these genres to take through to your final submission. All this will be put into the context of more general and transferable lessons to be learnt in the art of compelling storytelling.

For each genre studied you will read two core novels, plus a more general theoretical text on narrative construction. The module is lead by a writer of four published crime/thrillers.

30 credits

This module will cover the study of a number of different kinds of poetry and prose, with a focus on innovations in contemporary literature. It will examine some of the 20th- and 21st-century movements that have informed, and continue to influence, contemporary poetry and prose. These include modernism, dada, surrealism, sound poetry, visual poetry, constraint-based writing, the nouveau roman and "language" poetry, as well as the aesthetic and stylistic theories underpinning them (for instance, in manifestos and essays about poetry written by the poets and writers themselves).

Attention will be given to the contextual aspects of poetry and prose, as well as the content. The course will explore the reasons poets and writers innovate, the reasoning for experimentation and the ways in which poets and writers shape and structure poems and prose, exploring the nature of sound and language itself. The content of such works will be explored, which may involve non-traditional subject matter or interactions with other art forms, such as music or the visual arts, and their theoretical underpinning too (literary, social, theoretical, historical, stylistic). Analysis of the works studied will be reinforced by practical exercises and assignments designed to enable students to understand these concepts in relation to their own creative work, and to offer them the opportunity to experiment with their own writing and poetry.

Students will make poetry and prose portfolios and/or recorded readings which they can use as part of their writing CV, and which may be featured in the end-of-year Awards and Achievement Show.

30 credits

This is the module that can make you rich! On terrestrial and digital platforms, in both drama and comedy, the returning drama series remains TV's holy grail, pulling viewers in for episode after episode, season after season, box set after box set. For producers and writers – and the ‘showrunners' who are both – a returning series can be a goldmine. So how do these TV blockbusters get made? What makes them successful? And could you write one?

Taught by two highly experienced professionals, Box Set Drama is a practical and creative module which explores how a returning drama or comedy series is conceived and constructed – and gives you the tools to write one. Through close study of a few successful shows (and some not so successful), you will learn how to structure a series, build characters and stories, hook an audience, and dramatise action for the screen. Building from concept to treatment to script, with the aid of practical exercises and regular feedback, you will then develop a pitch for your own original show, aimed at the current television market. If you are keen to understand screen narrative and genre, find out how television drama works and explore writing for a visual medium, this module is for you. You will be taught basic principles of scriptwriting and storylining and, after two stimulating and entertaining semesters, will have generated a pitch and supporting portfolio for your own idea, written to industry standards.

30 credits

This highly practical module allows students to explore in depth and actively engage with a range of journalism specialisms which could include: Sports Journalism, Fashion Journalism, Investigative Data Journalism, Creative Non-fiction, Foreign Correspondence, Environmental Journalism, Business Journalism, Arts and Entertainment Journalism, Health and Science Journalism or Political Journalism.

Students will further develop their researching, writing, reporting and digital skills acquired through prior learning to produce professional copy and other outputs pertinent to each specialism such as: social media, video, data visualisations, etc. They will apply their newly-gained specialist knowledge using their acquired skills to the production of a portfolio of cutting-edge specialist journalism.

The practices of each area of specialist journalism will be placed in a context throughout the module. Through a series of lectures and in-class discussions students will gain insight into each specialism and how it works. They will acquire an appreciation of the historical, cultural, global and economic issues which specialist journalists must understand. The module prepares students to pursue jobs within specialist beats upon graduation.