Sarah-Jane is frequently invited to write plays, articles and essays for various institutions and individuals around the world. These include:

 

• Dickenson, S.J. (2014). CBA. Hull, London: Barbican Press.

• Dickenson, S.J. (2014). That Berlin Moment. Hull, London: Barbican Press.

• Dickenson, S.J. (2013). ‘Anthony Minghella: Autobiographical Memory and the Creation of an Adapted Screenplay’. Journal of Adaptation in Film & Performance. 6.2 2013. pp.317-328.

• Dickenson, S.J. (2012). ‘Not Yet’. Living Languages: An Integrated Approach to Teaching Foreign Languages in Secondary Schools. Ed. Catherine Watts. pp.183-215. London, Routledge.

• Cerny, Maria, Sarah Jane Dickenson, Daniela Schwark & Bettina Steurer (2011). Die Mauer. [A’Level German teaching resource. Now being used in 60 Schools in the region.]

• Dickenson, S.J. (2011). ‘Memory, Intent and the Scriptwriter’. Conference Paper. Authoring Theatre: New Performance, Text and the Return of the Auteur. Central School of Speech and Drama. London. 14-15 July 2011.

• Dickenson, S. J. (2011) ‘The Tipping Point’. Journal of Adaptation in Film & Performance 3: 3, pp. 305-28.

• Dickenson, S. J. (2011) ‘After Cyclops: Appropriating the chorus of Euripides when scriptwriting for applied drama’, Journal of Adaptation in Film & Performance 3: 3, pp. 291–304.

• Dickenson, S.J. (2009). ‘Not Yet’. Shared Voices: a European Theatre Project.   http://www.shared-voices.net/wp-content/uploads/2010/02/script_germany_not_yet.pdf

• Dickenson, Sarah Jane. ‘Not Yet: The Berlin Wall and the Loss of Biography’. Keynote. Germany Today: Zwanzig Jahre Nach Dem Mauerfall. The Goethe-Institut. 4th July 2009.

• Dickenson, S.J. (2009). ‘The Writing Process’. Goethe-Institut Online.   http://www.goethe.de/kue/the/prj/atf/stu/not/en4167696.htm

• Dickenson, S.J. and Harald Olkus (2009). ‘An Interview with Sarah-Jane Dickenson’. Goethe-Institut Online.  http://www.goethe.de/kue/the/prj/atf/aus/dic/en4250127.htm

• Dickenson S.J. (2008). The Queer Citizen: From Canonisation to Curriculum in the Work of Mark Ravenhill. Alternatives Within The Mainstream Theatre (Ed) Goodiwala-McGowan. Cambridge Scholars Press.

• Dickenson S.J. (2007)Writing Effective Characterisation to Facilitate Young People’s Performance and Their Understanding of Wider Social Issues With Particular Reference To The Landing’. Applied Theatre Researcher/ IDEA Journal No 7. Sept 2007.

• Dickenson, S.J. (2007) ‘Sarah-Jane discusses The Tipping Point’. BBC Humberside online. 9 March 2007 – 15 May 2008 (archived).  http://www.bbc.co.uk/humber/content/articles/2007/03/09/digital_teaching.shtml

• Stacy, Matt (2007) ‘Matt Stacy gives an insight into the play’. BBC Humberside online. 9 March 2007 – 15 May 2008 (archived). http://www.bbc.co.uk/humber/content/articles/2007/03/09/digital_teaching.shtml

• Thomson, Jodie (2007) ‘Jodie Thomson talks about her complex role’. BBC Humberside online. 9 March 2007 – 15 May 2008 (archived). http://www.bbc.co.uk/humber/content/articles/2007/03/09/digital_teaching.shtml

• Dickenson. S.J. (2006) Listening Better to Look Better: The manipulation of linguistic devices and listening skills in the writing of Booters, a play for young people. Exeter. Intellect. Research in Drama Education, Vol 11, No 1, pp99-105

• Dickenson S.J & Kerridge. V. ‘Shut up, sit down, we’re going to talk about human rights. ‘The Landing’ & Citizenship’. Drama as Social Intervention The Fifth International Conference, Exeter, England, April 2005.

• Dickenson S.J. & Kerridge. V. ‘The Booters Project.’ IDIERI Goes 4th. Destabilising Distinctions & Definitions 14th-19th July 2003 Northampton.