1944 The Cave of Polyphemus
1956 Jonah - a puppet play in five scenes
1966 The Fall of Kelvin Walker - a fable of the sixties
1968 Quiet People - a play for voices
1969 Mavis Belfrage - a romance of the sixties

FOUR ONE ACT SEXUAL COMEDIES
1971 Dialogue
1973 Homeward Bound
1973 Loss of the Golden Silence
1973 Sam Lang and Miss Watson

1973 The Man Who Knew About Electricity
1975 McGrotty and Ludmilla - a political pantomime
1975 Near the Driver - a one act play for voices
1975 The Golden Key - a 30-minute radio verse play
1976 The Rumpus Room - an opera libretto
1984 Lanark - extract from storyboard of film script
1985 The Story of a Recluse - a television script
1993 Poor Things - a film script
1997 Working Legs - a play for people without them

FOUR ONE ACT NOW PLAYS
2006 Goodbye Jimmy
2007 Midgieburgers
2007 The Pipes! The Pipes!
2008 Voices in the Dark

2008 Goethe's Faust - the start of a modern adaptation

Long and short plays for stage, radio and television, acted between 1956 & 2009, an unperformed opera libretto, excerpts from The Lanark Storyboard and full film script of the novel Poor Things by Alasdair Gray.

AT AN EARLY AGE I grew so fond of using pens that my fingers could never master the keyboard of a typewriter. Editors, broadcasters and producers of plays will not read hand writing, so my manuscripts were typed out by my father at first, then by friends, then by temporary secretaries.

Mrs Flo Allan was a good secretary who typed for me in spare moments between working for the BBC. In the 1970s I visited her in the old Scottish BBC headquarters in Hamilton Drive, and saw I had entered an unexpected future. The typists were NOT clicketyclicking keys to make little levers stamp letters onto paper round a sliding drum. Behind their keyboards was a thing like a white plastic fungus, the stem swelling out into a half-globe with a screen in the flat surface facing them. Before that moment I thought, like most people, I was living in Modern Times. When word processors became standard writing tools, smart intellectuals started saying we are now living in Postmodern Times.

I still cannot master keyboard technology but have come to depend more and more on helpers who can. All my pages are continually revised, so time is saved when I can see them on the screen and dictate corrections without having each one retyped. Nowadays I revise work for publication while sitting beside a friendly secretary using a desktop computer. A file of the result is then passed to a typesetter, usually Joe Murray, with whom I design the final form of the book, so less time is spent correcting the printer’s proofs. Joe has suffered me longest, for this is our ninth book together.