Stories of the true events of our no. 1 ranked program
INT. CREDO ARTS CENTER – NIGHT
On a chilly Sunday evening, an audience takes shape in the community performing arts center. The energy immediately shifts upon entering the glass front doors of the building — from the cold, dark night outside to a warm, welcoming group. Professors, parents and other community members mingle as they wait for the event to begin. Students excitedly chat and laugh together.
Tonight is a big night for Missouri State’s Master of Fine Arts in Dramatic Writing program. Scripts written by MFA students are performed by undergraduates studying acting and musical theatre. It’s a chance for writers to see their work come to life.
I normally write more horror-y things, but instead I brought a comedy tonight. We’re reading Act I, the buildup. It helps me a lot with dialogue. When I see somebody stumbling on a word, I think, “Oh, that’s just how I speak, so I need to edit there.” It also helps imagine character relationships — how they might interact and flourish.
BRETT JONES ’23 & ’26, MFA student
Last year, I specifically chose a scene where characters are fighting with each other. Watching the theatre students and professors watch it live for the first time was the most exciting thing. I got such a huge reaction that I was like, “Oh my gosh, I have potential.” I still remember Cristina (Pippa, screenwriting professor) turning to me saying, “They loved it.” It makes you realize you’re in the right career path.
Students in screenwriting and film studies write short screenplays, feature-length scripts and episodic series.
“My favorite thing about the classes and assignments is they are so hands-on. Our professors are real with you about which scripts have potential, and they genuinely want to see all of us succeed. They want to see us bring these stories to life. I never would have thought I’d have the opportunity to direct a play, let alone direct a feature film.”
Brett Jones, bachelor’s in film studies ’23; Master of Fine Arts ’26
Acting students take their places in chairs on the stage. The MFA students whisper encouragements to each other as they settle, prepared to watch their writing transform into a performance. Over the course of an hour, the auditorium fills with laughter, applause and engaged silence. The scripts tell stories that range from witty to spooky to serious. LaDonna Goodman, a graduate student from Louisiana, reflects on her experience in the program after her script is read.
LaDONNA GOODMAN, MFA STUDENT
I was in the workforce and started taking classes again. I found Missouri State’s screenwriting program, and after a couple of semesters, I was like, “This is what I want to do.” So I packed up all my stuff and moved to Missouri. It’s an up-and-coming place for film.
ACT II: AND THE AWARD GOES TO…
EXT. MISSOURI STATE’S CAMPUS — DAY When you think about writers for film, television, plays or other well-loved forms of media, sunny California or bustling New York City might be the first hubs that come to mind. But there’s a plot twist — Missouri State’s screenwriting and dramatic writing programs, located in the heart of the Midwest, are winning no. 1 honors.
A bulleted list appears on screen, maybe with glitter or stars for dramatic effect.
In recent years, the program, faculty and students have received multiple honors from the Broadcast Education Association, or BEA, including:
This screenwriting program has gone from a few classes and an undergraduate minor option to a major, a minor, certificate options at the undergraduate and graduate level and a Master of Fine Arts degree. Quick growth and major recognition are points of pride for faculty. The BEA is the premier international organization for academics in media, and Mo State is one of more than 300 international members. Our number-one ranking was first earned in 2022 when the organization introduced the ranking system for screenwriting programs. We’ve held on to that title every year since.
Professor Richard Amberg
When they started ranking programs in schools, it was based on the past five years. It’s not just based on one script; it’s based on student success and a lot of data rather than just a reputation.
ACT III: WHAT’S OUR SECRET
TO No. 1 SUCCESS?
EXT. MISSOURI STATE’S CAMPUS The screenwriting faculty members worked together to craft a program that offers unique learning experiences. It’s also not difficult for students to find inspiration and motivation from professors who are so actively involved in the industry.
LaDONNA GOODMAN, MFA STUDENT
The professors are so talented and encouraging. They all have their own careers in film. It’s real-life experience.
When I came to Missouri State from Los Angeles, I hoped we could have a program that prepared students for the demands of the film and television industry. A lot of other schools teach screenwriting as an elective where students write the first act of a screenplay and that’s it. I wanted to build a program where students developed the kinds of full-length features and pilots they could use in the real world. Even if they didn’t sell that script, I wanted them to have writing samples that could help them get agents and managers.
Given the creative nature of the subject matter, it’s not uncommon for many classes to be a fun change from a typical lecture. The faculty’s industry connections sometimes mean special guests for classes. Some recent visitors include a Missouri State alum and assistant on Netflix’s “Wednesday,” a producer for the upcoming live-action adaptation film “Voltron,” and Sofya Levitsky-Weitz, a writer-playwright working on FX’s Emmy and Golden Globe Award-winning series “The Bear.”
Christina Pippa
ASSOCIATE PROFESSOR CRISTINA PIPPA
Sofya was a great guest because she is a playwright, TV writer and screenwriter. Another unique thing about our MFA program is students learn all three kinds of writing in the same graduate program. Usually, you would be pushed to choose one over the others. Sofya talked about how to get focused on creative work when the world is so chaotic.
ACT IV: FEEDBACK THAT ENCOURAGES FEATURES
Ext. MISSOURI STATE’S CAMPUS AND ACROSS THE COUNTRY Classes are designed to build on each other as students work through the program. They start writing their feature-length film in an intermediate screenwriting class. Then, they have a chance to finish the script in an advanced-level class. They can revise that work in a rewriting course. Students aren’t just confined to traditional films, either. Scripts might also be produced for radio shows, plays, television series or video games.
ASSISTANT PROFESSOR NATHAN PATTON
I always say the best ways to learn, that taught me more than almost anything, are reading scripts, watching movies and writing. We get students writing immediately. I always tell my students, “The only thing you can’t fix is a blank page.” You could write the worst 10 pages anyone’s ever written, and you can always make that better, but you cannot fix 10 blank pages.
“Screenwriting is about trying to inspire other people. You’re inspiring the actors to want to play this part. You’re inspiring the director, the set decoration, the costume. These projects are meant to have multiple hands on it, as opposed to almost every other form of writing. That makes it great for classes because it is a great way to get students collaborating.”
Nathan Patton, assistant professor in communication, media, journalism and film
ASSOCIATE PROFESSOR CRISTINA PIPPA
Our screenwriting classes really build on each other. Students have chances to incorporate feedback and make a stronger script to submit.
That format helps Missouri State stand out. The process of receiving feedback is another important piece of the student experience. Typical writing classes include workshop days. These require students to read each other’s work before class and share their notes as a group. In the screenwriting program, workshopping takes a different approach. Students come to class for “table reads,” not too different from the way things are done in Hollywood. Students are assigned characters and the group reads through the script just as actors would run through lines. The process results in genuine first impressions on projects.
ASSISTANT PROFESSOR NATHAN PATTON
If you read something at home, there’s theoretically time to sit down and reflect. But there are so many distractions at home. We’re engaged together at the table read, and I think that’s honestly a key to how scripts get made. My teaching philosophy comes down to three words: support, but challenge. For workshops, we start with the positive. What’s working? What do we love? What gets us excited? Then we can go to things that we’re confused by. I always want to support them because writing is tough, but I also challenge them in saying, “Well, what if you thought about it this way?”
HAILEY BROWN ’22 & ’24, SCREENWRITING ALUM
We had a class in which we had to pitch a project or a production we had conceptualized. I decided to write a short film, and then I had to pitch it to the department. They greenlit my project, which is always exciting. The MFA program is good at putting you in real-life situations. As soon as you graduate, in the real world, you’re going to be expected to pitch your work.
After her project was greenlit, Brown got a cast and crew ready. They filmed the 20-minute short film, and she showed it to her senior thesis class. Brown’s classmates immediately encouraged her
to take the film concept and run with it. At first, she hesitated. Producing can involve a lot of fundraising and fine-tuned scheduling.
HAILEY BROWN ’22 & ’24, SCREENWRITING ALUM
My class said, “But if not now, when? You have so many resources at Missouri State. You have so many people who are still living in Springfield who are totally willing to help you with this.”
A similar experience kept Brett Jones in the program for one extra year when he could have graduated early. It was not hard for him to be convinced to stick around.
BRETT JONES ’23 & ’26, MFA STUDENT
I was set to graduate last spring, but the faculty were like, “Hey, we want you to stay to make your feature film.” I said, “Okay, you don’t have to tease me with a good time.”
Brown started her feature while finishing the MFA program. She is now working to complete the film as a post-grad project. Jones was wrapping up filming weeks before his spring 2026 graduation.
ACT V: FROM SCRIPT TO SET TO SCREEN
INT. A SUBURBAN HOME IN NIXA, MISSOURI — NIGHT Actors are running lines for the film “I’m a Terrible Person.” Laughter and chatter is instantly halted with the magic words: “Quiet on set!” Then, it’s showtime. The silence is quickly filled with an actor stomping up stairs. The scene includes a heated exchange of words. The moment replays with each take. Before the clapperboard clicks, someone says: “‘I’m a Terrible Person,’ take number…”
BRETT JONES ’23 & ’26, MFA STUDENT
This is our third weekend, day 12 or 13. Next weekend is our last weekend of filming. We’ve been working really hard. Shoutout to my three leads: Ryan Moore, Sav Jordan and Charlie Wehde. They’re on set almost every single day. If you want to write, direct or produce, this is the department you should strive for. There are so many opportunities.
By the end of the semester, Jones and his film production team wrapped filming. The film is in the editing process and will premiere in Springfield soon.
Our program’s rankings are based on student achievements, which is the most important metric. There’s nothing better than helping our students take a rough idea all the way to a finished project. As a teacher, it’s amazingly rewarding to go into a movie theatre and see a past student’s film — sometimes one they wrote in our classes — on the big screen.
BEARS ARE MAKING CONTENT FOR SCREENS BIG AND SMALL
Your favorite movie or TV show may have ties to our screenwriting alums.
