The Department of Media and Communications offers fee waivers for this MA. If you have confirmed an offer by 1 May 2015 you'll automatically become eligible for the fee waiver scheme that will fund waivers equivalent in total to 13 full time home/EU fees. International students are also eligible for the scheme. Find out more on our departmental funding page.
The Olive Till Memorial Bursary has since 2003 been offered to one female student on this course each year. Once an offer of a place has been accepted, the application for this contribution towards fees is by letter, as advised by the course convenor.
UK students offered a place on this course are elligible for the BAFTA UK Scholarships Programme.
The MA Script Writing is accredited by Skillset (further to the Department's accreditation as a Skillset Media Academy) and currently receives funding to support some student bursaries (for more information visit the Skillset website).
The programme is aimed at those who already have some writing experience, but who want to develop professional skills and expertise as screen or radio script writers.
It's geared towards developing each student's own writing and distinctive voice, to enable you to pitch for employment and production funding in a highly competitive industry.
You complete the programme with a feature film or equivalent television or radio script. You also gain knowledge of the film, television or radio industries and some of the contacts necessary to market your projects.
The core course is designed to give you the skills and understanding required to develop your Treatment for a feature film or equivalent television or radio script.
The course is taught mostly with workshops, in which you present and discuss your own work with other students in a supportive environment. There are also class exercises, lectures, screenings, master classes, seminars and individual tutorials.
Starting in the Spring Term, the course then develops your Treatment into a second draft feature script (or its equivalent). Option modules include Short Fiction, Script Editing and Media a Landscape of Opportunity (from ICCE).
The MA Script Writing is accredited by Skillset (further to the Department's accreditation as a Skillset Media Academy) and is likely to receive funding to support student bursaries. For more information visit the Skillset website.
Feature fiction script; feature treatment; short fiction script; examples of script reader’s reports on other material; other modules are assessed by essay.
You can apply directly to Goldsmiths via the website by clicking the ‘apply now’ button on the main programme page.
You'll be able to save your progress at any point and return to your application by logging in using your username/email and password.
We accept applications from 1 October for students wanting to start the following September.
We encourage you to complete your application as early as possible, even if you haven't finished your current programme of study. It's very common to be offered a place that is conditional on you achieving a particular qualification.
If you're applying for funding, you may be subject to an earlier application deadline – 14 February is the deadline if you're applying for AHRC funding.
Please include: evidence of your writing – and preferably your script writing abilities – either in the form of a draft ten-page short script, or opening ten pages of a longer script; or a ten-page short story; and several one-page ideas for short fiction and feature scripts you would like to consider for development and writing on the programme.
When submitting your application, please also submit (upload under 'additional') an example of your recent work in a related field, or include links to a page hosting that work. Failing which, please post an example of that work to: Admissions Office, Goldsmiths, New Cross, London SE14 6NW, UK. Please make sure you include your application reference number (which you will receive when you enter your online application) and the MA degree title. Please see ‘Returning your work’.
We 'batch' applications for this programme. This means that we'll wait until the closing date and then assess all applications together, to make sure they receive equal consideration. Therefore you won't receive a decision from us until after the closing date.
You should have (or expect to be awarded) an undergraduate degree of at least upper second class standard in a relevant/related subject and you should be able to demonstrate a commitment to creative writing and a level of practical experience.
You might also be considered for some programmes if you aren’t a graduate or your degree is in an unrelated field, but have relevant experience and can show that you have the ability to work at postgraduate level.
Due to the popularity of this programme we ask you for a deposit of £450 to secure any offer made to you after applying for the programme. The deposit will be credited against your tuition fees when you enrol.
If your first language is not English, you normally need a minimum score of 7.0 in IELTS (including 7.0 in the written element) or equivalent.
Please check our English language requirements for more information.
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The MA is composed of Scriptwriting Portfolio valued at 90 credits, a Reflection Essay 15 credits, Sound Story telling and Narrative Intertextuality 15 credits, two from Short Form Script, Script Editing, Narrative in Practice, Cinema and Society, Screen Cultures, each 30 credits.
|tbc||Long Form Script (Scriptwriting Portfolio)||90 CATs|
As the major creative writing component to this programme, this module is designed to give you the skills and understanding required to develop your Treatment for a feature film or equivalent television or radio script. The module is taught mostly with workshops, in which you present and discuss your own work with other students in a supportive environment. There are also class exercises, lectures, screenings, master classes, seminars and individual tutorials. Starting in the Spring Term, the module then develops the treatment into a second draft feature script (or its equivalent).
|MC71001A||Issues in Media and Culture||30 CATs|
Issues in Media and Culture is a module that focuses on the correspondence between making things and thought about cultural artefacts.
Theory, philosophy, and artistic practice all share in the business of asking us to pay attention to something we might otherwise not consider, might not see nor hear, and to think about it. Philosophy searches for meaning unfettered by habitual understandings and beliefs. By making something and placing it before us, the practitioner too makes demands on our otherwise quotidian understanding of the world. Theory pays attention to the relationship between meaning and the things we encounter in the world, be they actions, customs, artworks, or media events. It tries to reveal, clarify, or deepen that relationship.
In all cases, it is with great care that we cut something out of the continuum of life and frame it, be it by the covers of a book, the focus of a lens, the devices of a story, or the punctuations of dialogue. This module aims to aid in sharpening that care by investigating aesthetic, historic, and social theories about the relationship of creative endeavour to contemporary culture.
|tbc||Sound Story Telling and Intertextuality of Narrative||15 CATs|
This module explores the common aspects of sound narrative in different practice media, and critically investigates to an advanced standard how audiogenic techniques transfer intertextually between radio, prose, theatre, and film. Lecture/seminars, handouts and Web resources will look at the complex debates and issues encountered through the practical experience of adapting scripts between visual and sound storytelling.
Ten two-hour workshops during the Spring term. Twenty contact hours.
|tbc||Narrative in Practice||30 CATs|
This module is for both screen practitioners whose creative work involves narrative and for screen studies students interested in theoretical issues arising from the narrative process. We look at broad issues – what narratives are, how they differ from non-narratives, what forms they may take (fiction and non-fiction), and what functions they serve in our own and one or more other societies. We look at elements of narrative creation: character, conflict, structure, plot and we look at the ways in which different aspects of screen productions, particularly editing and sound design, contribute to narrative impact. The speakers are a mix of practitioners who work in the screen industries and theorists who study
|tbc||Script Editing||30 CATs|
This module develops editorial and analytical skills to complement the creative ones developed in the others. The module requires you to become familiar with the script development processes in film, television and radio. The module is taught by weekly seminars and practical workshops, some of which are led by industry professionals.
|tbc||Short Form Script||30 CATs|
This module helps you understand the basic elements required for the construction of short fiction scripts for screen or radio. You then use this knowledge to develop one of the ideas you brought to the module to write your script. The module is taught by a weekly one-hour seminar followed by a two-hour workshop. Each script receives a reading from professional actors at the end of the module. All short scripts are eligible for entry into the Short Script Competition for production from MA in Filmmaking students.
|tbc||Cinema and Society||30 CATs|
This module looks at the rise of visual culture from the inception of cinema to the present day. Beginning with its founding myth, the historic
|tbc||Screen Cultures||30 CATs|
Screens are now a dominant presence and interface in culture in a number of suggestive ways. This module explores our relationship to these
You are assessed on your portfolio, which consists of your long form treatment and second draft feature script or equivalent, your 4,000-word Reflection essay on this script, linked to issues in Media and Culture and a radio script adapted from a source text. In addition, depending on your options, your portfolio could also include a 10-12 page short script or script-editing proposal and coverage. Other modules are assessed by 5-6,000-word essays.
"The course has instilled many new instincts in me, which now play a huge part in how I develop an idea. For instance, I now explore every dramatic possibility before settling on a plot, and put much more effort into making my characters as rounded as possible. I enjoyed having my short film script performed by actors… It's a cliche but writing really is re-writing. However, at the same time have confidence in yourself and try to strike a balance between what you believe is right for your work and the feedback you receive from others. This is quite difficult to achieve."
"The most important thing I learned was a solid method for writing a script. I learned that the majority of work goes into actually preparing the world of the story, the narrative and characters so that I now have a very solid idea of what I mean to write before I even start the first draft. This has made creative writing more rewarding and less frustrating. I enjoyed the group dynamic the most. Writing is usually a very isolated act so it was a wonderful change to be around like-minded people who are also dedicated to script writing. After the initial nerves about showing my work I really appreciated the constructive criticism and feedback I got from the group. It helped develop my ideas and clarify what it is that I wanted to write. If you want to improve your craft and iron-out those problems that always seem to strike at page 22. I would recommend this course. It provides you a comprehensive understanding of script writing and a supportive environment to be creative."
"The overall most important thing I've learned from the course is how to use the script writing tools to try and hopefully keep your audience interested in what you have to say - your story. Learning and practising these tools I've been enabled to explore them through my own work and through other people's work, being the latter from my own student colleagues, other scripts and/or films already made. What I have enjoyed the most about the course has been the wide and rich variety of professionals coming through to lecturer, teach, and/or guide us, as well as the array of people and backgrounds within my the student cohort. Also, to have met some of the alumni from the MA has provided me with a new dimension on what possibilities lay ahead of me after having studied this MA course, which is an enjoyable thing to think about throughout the course too."
Oh Baby, extract, written by Maggie Innes (class of 2003/4), produced by MA Filmmaking (class of 2008).
Shoes, extract from rehearsed television studio reading with actors, written by Andrew Burrell (class of 2008/9), produced by MA Television Journalism (class of 2008/9).
This MA programme is focused on developing your own story ideas to end up with a second draft dialogue script as the major part of your portfolio. It's a very intensive course designed to take your writing as far and as fast as it's possible to go within twelve months. Only about twelve students are accepted each year.
There is no preferred medium (film, television or radio), genre or style. That is up to you. There tends to be a wide range of students in terms of age, background and writing experience. But it is not a programme for students who want to try writing, but for those who are committed to developing their writing skills.
The teaching for the practice courses (long form script, short script and script editing) takes place in workshops in which students share their own work and comment on each others. The programme is designed to provide a supportive, stimulating and constructively critical environment for all students to do their very best work.
Once you have made your application, if you would like to find out more about what its like actually being on the MA, please email the programme convenor to arrange a visit to meet some of the current students.
Content last modified: 15 Oct 2014
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