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The Personal Papers series is arranged into Incoming correspondence, Outgoing correspondence, Diaries, Photographs and artwork, Printed Material, Other papers, and Works by others. All of the incoming and outgoing correspondence has been listed, if not catalogued in full. Letters Shaffer received on his knighthood are together after the general alphabetic run, as are letters from unidentified correspondents. Other correspondence relating directly to various plays may be found in the Works series under the title of the play.

Screenplay adapted from the play by Anthony Shaffer for Castle Rock Films accompanied by a letter from Judy Daish Associates Ltd to Patricia Macnaughton dated 21 Feb. 2007.

Delivered at a writers' conference in Utah.

Typescript memoir.

Comb binding includes a letter from Rosenthal to Shaffer dated 5 Apr. 2013 inviting emendations. Shaffer has revised the pages throughout.

Lecture presented in Montreal at the Shakespeare Association of America conference.

Bound duplicated typescript revised Oct. 2000 with a loose sheet of paper from a printed playscript of two pages of Act I.

Duplicated printed playscript inscribed to Shaffer on the title page, accompanied by a letter from Corrêa dated 4 July 1999.

Lecture given for the Colorado Festival of World Theatre 24 July 2006.

A draft of the extracts, with revisions by Shaffer.

Bound thesis for the Università degli studi di Verona, Facoltà di Lingue e Letterature Straniere inscribed to Shaffer on the front flyleaf.

Bound duplicated typescript in a pfd (Peters Fraser + Dunlop) folder.

Duplicated typescript inscribed to Shaffer on the first page.

Bound duplicated typescript accompanied by a letter from Caldecott thanking Shaffer for his comments..

Bound duplicated typescript, with a copy of an advertisement and cuttings bound in at the front of the playscript.

Bound duplicated typescript of a dissertation submitted in fulfilment of requirements for BA J/H Philosophy and Theology at Durham University, accompanied by a card to Peter Shaffer from Hadrian Briggs.

Bound duplicated typescript, inscribed to Peter on the title page.

The papers consist of correspondence, writings, diaries, photographs, and printed material which document the life and work of playwright Sir Peter Levin Shaffer. The papers consist of two series: personal papers and writings. The personal papers include correspondence, diaries, and photographs while materials relating to his writings are gathered in the second series by date. The writings include correspondence, drafts, photographs, and printed material for his best-known plays, and drafts of unpublished and unfinished plays as well.

Writings are listed in order of first production, or date of writing if not produced, with all associated correspondence, writings, printed material gathered under the title. The correspondence in this series has been listed, if not fully catalogued, and is arranged in date order. Materials are still being catalogued, and will be added when this complete.

'Our Lady of the Volcano' is an unpublished play.

'The Merry Roosters Panto' ran as matinees during the run of 'Oh What a Lovely War' at the Theatre Workshop in December 1963.

This subseries contains drafts or sometimes just photographs or a contract for some of Peter Shaffer's early works. Represented are the radio play 'Alexander the Corrector,' the mysteries 'The Woman in the Wardrobe, How Doth the Little Crocodile? and Before and After, and the screenplays 'The Salt Land,' 'The Balance of Terror,' and 'Prodigal Father.'

Typescript draft with emendations in Shaffer's hand. The last page includes five lines of shorthand at the bottom.

Commiserations in Charlotte Mayor's illness: [Eywood, Kington]

The papers concern psychical research, in particular the concept of cross-correspondence in the writings of automatic writers, and consist of automatic scripts by Margaret and Helen Verrall (later Helen Salter), with notes and correspondence relating to these and the writings of other automatists active during the early decades of the twentieth century, including those of Alice Fleming ("Mrs Holland") and Winifred Coombe Tennant ("Mrs Willett"). In addition, there are 32 privately printed volumes, including various scripts edited by the Verralls, J. G. Piddington, Alice Johnson, and G. W. Balfour; Piddington's nine-volume analysis 'Notes and Excursuses' and W. H. Salter's 'Introduction to the Study of Scripts'.

Carbon typescript suggesting scene treatments for a proposed movie, linked to a script (not present). Accompanied by a preliminary draft of the treatment in Shaffer's hand.

Concerning Shaffer's radio script 'Alexander the Corrector.'

In a letter from Peter to Johnson he explains that he wrote 'The Woman In the Wardrobe' under a pseudonym because he and Anthony [Shaffer] wanted to write two more together under that name; provides a riddle to guess the pseudonym they used. This is accompanied by fax transmission sheet. The reply from Johnson apologises for misattributing 'The Woman in the Wardrobe' to Anthony Shaffer, and for getting the type of work wrong: a detective novel and not a play, and notes that Shaffer has not revealed what happened at the end, prolonging his 'agony'; thanks him for kind remarks about his column.

This file contains items evidently collected by W. H. B. Bird at the celebrations connected with the sexcentenary of Michaelhouse, and some rough historical notes by him on Michaelhouse and King's Hall.

The 600th anniversary of the foundation of Michaelhouse was celebrated at Trinity College in 1924. The events included a service of commemoration in honour of Hervey de Stanton and a dinner, both held on Michaelmas Day (29th September). Michaelhouse was one of the two colleges (the other being King's Hall) which were merged to form Trinity in 1546. Bird probably attended both events.

Two images of Anthony, one of them damaged, with a note on the back from his widow Diane Cilento at New Year's 2008, and two images of Anthony's gravestone at Highgate Cemetery with two related design drawings.