DOCSLIB.ORG

Writing, Journalism & Literature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Enroll at uclaextension.edu or call (800) 825-9971 Writing, Journalism & Literature 151 NEW Writers’ Program WRITING X 461.13EWS WRITING, Conquering Your Story and Its Superstructure 3.0 units The first fundamental challenge facing all writers, Writers Studio whether novice or professional, is the process of trans- NEW forming your premise into a compelling, sustainable story. This intensive workshop focuses solely on the art WRITING X 461.11EWS of the story, with an emphasis on such fundamentals JOURNALISM Kicking in the Wall: Writing through as character development, super-objective, rising Blocks and Creating New Work conflict, scene work, and the all-important quest to find 3.0 units your story’s superstructure. Through a series of lec- Hitting a wall or having writer’s block is common for tures, published examples, and in-class writing exer- most writers; we get stuck, we get scared, and to cises, writers learn how to spot critical mistakes often paraphrase writer Patti Smith, we hit the wall of our made in the initial development of any narrative. This & LITERATURE imagined limitations. This workshop offers a way to kick workshop is designed for writers with a specific story in your own wall to move past writer’s block and to get they feel passionate about telling. After four days you your story written. Whether you’re working on fiction, have a greater understanding of what makes a story memoir, or personal essays, inspiring exercises will start work, along with your own detailed superstructure you writing immediately and help you to find the door outline to use in the development, completion, and into the story you want to write, or, if you have a work revision of your story. in progress, to discover ways to go deeper into your Reg# 357927 story with a path toward finishing it. You’ll workshop Fee: $985 your new material to get constructive feedback, have ❖❖ Classroom time to write and also learn how and where to find 4 mtgs inspiration to continue a writing practice after the Thursday, 9am-6pm, Feb. 8 WRITERS’ PROGRAM POETRY workshop ends. The course goal is to gain tools you can Friday, Saturday, Sunday, 10am-6pm, Feb. 9-11 use to write through blocks and create a fresh, original UCLA Extension 1010 Westwood: 151 Writers Studio 159 Poetry piece of work in your genre of choice. 1010 Westwood Blvd. Reg# 357923 Enrollment limited to 15 students.Visitors not permit- EDITING & PUBLISHING Fee: $985 ted. $150 nonrefundable; no refund after Jan. 8. CREATIVE WRITING ❖❖ Classroom Steven Wolfson, MFA, award-winning playwright, and 154 Basics of Writing 159 Editing & Publishing 4 mtgs founding member of The Mark Taper Forum’s Mentor Thursday, 9am-6pm, Feb. 8 Playwrights Project. A WGA member, Mr. Wolfson is the 154 Special Topics for Friday, Saturday, Sunday, 10am-6pm, Feb. 9-11 recipient of two UCLA Extension Outstanding Instructor SCREENWRITING UCLA Extension 1010 Westwood: Awards in Creative Writing and Screenwriting. All Writers 160 Special Topics for Film & 1010 Westwood Blvd. Enrollment limited to 15 students. Visitors not permit- NEW FICTION Television Writers ted. $150 nonrefundable; no refund after Jan. 8. FILM TV X 435.85WS Barbara Abercrombie, author of 15 books, including Showrunners Bootcamp Courage and Craft: Writing Your Life into Story; A Year 155 Beginning Fiction 3.0 units FEATURE FILM of Writing Dangerously; and Kicking in the Wall. Ms. How do you create a narrative dramatic series, sell it, Abercrombie is a recipient of the UCLA Extension Dis- 155 Intermediate Fiction 162 Beginning Feature Film and have the series made, all while keeping your vision tinguished Instructor Award and the UCLA Extension a priority in every aspect of the creative process? This Outstanding Instructor Award in Creative Writing. 156 Advanced Fiction 163 Intermediate Feature Film is the role of the Showrunner—the lead producer/writer on a television or digital series, responsible for the NEW CREATIVE NONFICTION 163 Advanced Feature Film creative vision along with the business and logistical WRITING X 461.12EWS aspects of a series. There is currently a high demand 156 Beginning Creative TELEVISION Writing Memorable Scenes for Fiction for skilled Showrunners, and in this workshop, we focus Nonfiction and Nonfiction on demystifying what a Showrunner does. This work- 164 Beginning Television 3.0 units shop is set-up as a bootcamp in intensity, exploring the 158 Intermediate Creative The writing of powerfully constructed scenes featuring breath of knowledge a Showrunner needs using hands- 164 Intermediate Television compelling characters is the key to any work of fiction on exercises, lectures, viewing of footage including Nonfiction or non-fiction’s success. This intensive workshop gets dailies and rough cuts, discussing the pilot script and 165 Advanced Television you writing and rewriting your own scenes, and arms series writing process, giving notes on scripts, as well 158 Advanced Creative you with a specific skill set that enables you to improve as covering the practical issues of production, maximiz- Nonfiction and elevate your work. Drawing on great scenes and ing budgets and overall series logistics. JOURNALISM & LITERATURE sequences from memorable novels, short stories, and Reg# 358381 personal essays and memoirs throughout the course, WRITING FOR YOUNG READERS Fee: $985 COMPARATIVE & you learn to identify the essential building blocks for the ❖❖ Classroom creation of dynamic scenes; work with conflict, subtext, 4 mtgs 158 Writing Picture Books ENGLISH LITERATURE characterization, dialogue, and imagery; get feedback Thursday, 9am-6pm, Feb. 8 158 Writing for Young Adults that will up your game; and make significant headway Friday, Saturday, Sunday, 10am-6pm, Feb. 9-11 165 Comparative Literature in creating an eminently marketable project. UCLA Extension 1010 Westwood: Reg# 357933 1010 Westwood Blvd. JOURNALISM Fee: $985 Enrollment limited to 15 students. Visitors not permit- ❖❖ Classroom ted. $150 non-refundable; no refund after Jan. 8. 166 Journalism 4 mtgs Cynthia Hsiung, producer, writer, director, and execu- Thursday, 9am-6pm, Feb. 8 tive who served as a producer and head of production Friday, Saturday, Sunday, 10am-6pm, Feb. 9-11 for Young Hercules, starring Ryan Gosling. Ms. Hsiung WHAT OUR STUDENTS SAY UCLA Extension 1010 Westwood: was part of the team that launched The Larry Sanders 1010 Westwood Blvd. Show and Taxi Cab Confessions at HBO, and was a Enrollment limited to 15 students. Visitors not permit- creative executive for MTV’s The Real World. ted. $150 nonrefundable; no refund after Jan. 8. “ As a young writer, I found much needed inspiration and wise guidance Billy Mernit, MFA, screenwriter, novelist, and WGA member who is a story analyst for Universal Pictures from my instructors and my classmates. I am proud to be a part of the and the author of Writing the Romantic Comedy Writers’ Program community, and grateful that we have this wonder- (Harper/Collins). Mr. Mernit is a recipient of the UCLA Extension Distinguished Instructor Award and the Out- ful resource for writers in Los Angeles.” standing Instructor Award in Screenwriting. — Lindsey Lee Johnson, whose debut novel, The Most Dangerous Place on Earth, was published by Random House 152 Writing, Journalism & Literature Enroll at uclaextension.edu or call (800) 825-9971 UCLA Extension Writers’ Program Presents Writers Studio 2018 4-Day Intensive Workshops in Screenwriting & Creative Writing Thursday–Sunday, February 8–11, Westwood: 1010 Westwood Center What Is the Writers Studio? Writers Studio 2018 Workshops Writers Studio Fee Push aside the demands and deadlines of This year’s workshops offer a rich variety of The $886 discounted fee* includes: daily life and dive into your writing at the learning experiences. Writers Studio. • Registration in one 4-day workshop During 4 intensive days, you learn and Creative Writing • Continental breakfast on Thursday morning write in a workshop equivalent to a regular Kicking in the Wall: Writing Through • Complimentary coffee available throughout 10-week Writers’ Program course. Blocks and Creating New Work the day Select one workshop from a choice of 10, with Barbara Abercrombie • Special guest on Saturday each taught by a Writers’ Program instruc- Writing the Personal Essay Sunday reception with light refreshments tor who is also an accomplished screen- • with Antonia Crane writer, novelist, short fiction writer, editor, Refund Policy or creative nonfiction writer. Writing Your Memoir with Samantha Dunn A $150 administrative fee is withheld from all refunds. Refund requests must be post- Writing Memorable Scenes for Fiction marked or phoned in by January 8, 2018. No and Nonfiction refunds are available after that date (full with Billy Mernit refund if workshop is canceled, discontin- Writers Studio instructor Mark Sarvas ued, or rescheduled). Writing Your First Novel How to Enroll with Mark Sarvas * Fee is $985 after January 8. Online Conquering Your Story and Its Superstructure Visit writers.uclaextension.edu/writers-studio for full information on the Writers Studio. with Steven Wolfson Follow the links to complete your secure enrollment. Screenwriting Phone Writing Your First Feature Film Enrollment by phone is highly recom- with Jon Bernstein mended as you will find out immediately Showrunners Bootcamp which workshops are available. Call with Cynthia Hsiung (800) 825-9971 and have your American Express, Discover, JCB, MasterCard, or Writing the Television Pilot Writers Studio instructor Antonia Crane VISA ready.
Recommended publications
  • GCWC WAG Creative Writing

    GCWC WAG Creative Writing

    GASTON COLLEGE Creative Writing Writing Center I. GENERAL PURPOSE/AUDIENCE Creative writing may take many forms, such as fiction, creative non-fiction, poetry, playwriting, and screenwriting. Creative writers can turn almost any situation into possible writing material. Creative writers have a lot of freedom to work with and can experiment with form in their work, but they should also be aware of common tropes and forms within their chosen style. For instance, short story writers should be aware of what represents common structures within that genre in published fiction and steer away from using the structures of TV shows or movies. Audiences may include any reader of the genre that the author chooses to use; therefore, authors should address potential audiences for their writing outside the classroom. What’s more, students should address a national audience of interested readers—not just familiar readers who will know about a particular location or situation (for example, college life). II. TYPES OF WRITING • Fiction (novels and short stories) • Creative non-fiction • Poetry • Plays • Screenplays Assignments will vary from instructor to instructor and class to class, but students in all Creative Writing classes are assigned writing exercises and will also provide peer critiques of their classmates’ work. In a university setting, instructors expect prose to be in the realistic, literary vein unless otherwise specified. III. TYPES OF EVIDENCE • Subjective: personal accounts and storytelling; invention • Objective: historical data, historical and cultural accuracy: Work set in any period of the past (or present) should reflect the facts, events, details, and culture of its time and place.
  • The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«

    The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«

    DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41).
  • Why Does the Screenwriter Cross the Road…By Joe Gilford 1

    Why Does the Screenwriter Cross the Road…By Joe Gilford 1

    WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 1 WHY DOES THE SCREENWRITER CROSS THE ROAD? …and other screenwriting secrets. by Joe Gilford TABLE OF CONTENTS INTRODUCTION (included on this web page) 1. FILM IS NOT A VISUAL MEDIUM 2. SCREENPLAYS ARE NOT WRITTEN—THEY’RE BUILT 3. SO THERE’S THIS PERSON… 4. SUSTAINABLE SCREENWRITING 5. WHAT’S THE WORST THAT CAN HAPPEN?—THAT’S WHAT HAPPENS! 6. IF YOU DON’T BELIEVE THIS STORY—WHO WILL?? 7. TOOLBAG: THE TRICKS, GAGS & GADGETS OF THE TRADE 8. OK, GO WRITE YOUR SCRIPT 9. NOW WHAT? INTRODUCTION Let’s admit it: writing a good screenplay isn’t easy. Any seasoned professional, including me, can tell you that. You really want it to go well. You really want to do a good job. You want those involved — including yourself — to be very pleased. You really want it to be satisfying for all parties, in this case that means your characters and your audience. WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 2 I believe great care is always taken in writing the best screenplays. The story needs to be psychically and spiritually nutritious. This isn’t a one-night stand. This is something that needs to be meaningful, maybe even last a lifetime, which is difficult even under the best circumstances. Believe it or not, in the end, it needs to make sense in some way. Even if you don’t see yourself as some kind of “artist,” you can’t avoid it. You’re going to be writing this script using your whole psyche.
  • Introduction Screenwriting Off the Page

    Introduction Screenwriting Off the Page

    Introduction Screenwriting off the Page The product of the dream factory is not one of the same nature as are the material objects turned out on most assembly lines. For them, uniformity is essential; for the motion picture, originality is important. The conflict between the two qualities is a major problem in Hollywood. hortense powdermaker1 A screenplay writer, screenwriter for short, or scriptwriter or scenarist is a writer who practices the craft of screenwriting, writing screenplays on which mass media such as films, television programs, comics or video games are based. Wikipedia In the documentary Dreams on Spec (2007), filmmaker Daniel J. Snyder tests studio executive Jack Warner’s famous line: “Writers are just sch- mucks with Underwoods.” Snyder seeks to explain, for example, why a writer would take the time to craft an original “spec” script without a mon- etary advance and with only the dimmest of possibilities that it will be bought by a studio or producer. Extending anthropologist Hortense Powdermaker’s 1950s framing of Hollywood in the era of Jack Warner and other classic Hollywood moguls as a “dream factory,” Dreams on Spec pro- files the creative and economic nightmares experienced by contemporary screenwriters hoping to clock in on Hollywood’s assembly line of creative uniformity. There is something to learn about the craft and profession of screenwrit- ing from all the characters in this documentary. One of the interviewees, Dennis Palumbo (My Favorite Year, 1982), addresses the downside of the struggling screenwriter’s life with a healthy dose of pragmatism: “A writ- er’s life and a writer’s struggle can be really hard on relationships, very hard for your mate to understand.
  • Rewriting Aristotle: the Uses and Misuses of the Poetics in the Teaching and Practice of Screenwriting

    Rewriting Aristotle: the Uses and Misuses of the Poetics in the Teaching and Practice of Screenwriting

    Rewriting Aristotle: the Uses and Misuses of the Poetics in the Teaching and Practice of Screenwriting Brian Dunnigan, Head of Screenwriting, London Film School October 2014 “ All human beings by nature desire knowledge.” Aristotle (Metaphysics) “ Tragedy is essentially an imitation not of persons but of action and of life.” Aristotle (Poetics) “The film language is the most elaborate, the most secret and the most invisible. A good script is a script that you don’t notice. It has vanished. Being a screenwriter is not the last step of a literary adventure but the first step of a film adventure…therefore a screenwriter must know everything about the techniques of how to make a film.” Jean-Claude Carrière I read with interest that amongst the early aims of the Screenwriting Research Network is that of “ interpreting documents intended to describe the screen idea” and a study of “ the interaction of those agents concerned with constructing the screenwork.” We are presumably referring here to the screenplay and the screenwriters and filmmakers working toward the creation of a film. The lively, anxious, imaginative humans who struggle to express themselves in conversation and debate, to shape a meaningful narrative for an audience. As an educator involved with curious and often confused humans trying to understand what it is they have to say about the world - I find that description of theoretical practice misses too much of what excites me about storytelling and cinema. This is partly language and partly to do with how as a writer and teacher one prefers to think about the process of filmmaking.
  • A Genre Is a Conventional Response to a Rhetorical Situation That Occurs Fairly Often

    A Genre Is a Conventional Response to a Rhetorical Situation That Occurs Fairly Often

    What is a genre? A genre is a conventional response to a rhetorical situation that occurs fairly often. Conventional does not necessarily mean boring. Instead, it means a recognizable pattern for providing specific kinds of information for an identifiable audience demanded by circumstances that come up again and again. For example, new movies open almost every week. Movie makers pay for advertising to entice viewers to see their movies. Genres have a purpose. While consumers may learn about a movie from the ads, they know they are getting a sales pitch with that information, so they look for an outside source of information before they spend their money. Movie reviews provide viewers with enough information about the content and quality of a film to help them make a decision, without ruining it for them by giving away the ending. Movie reviews are the conventional response to the rhetorical situation of a new film opening. Genres have a pattern. The movie review is conventional because it follows certain conventions, or recognized and accepted ways of giving readers information. This is called a move pattern. Here are the moves associated with that genre: 1. Name of the movie, director, leading actors, Sometimes, the opening also includes the names of people and companies associated with the film if that information seems important to the reader: screenwriter, animators, special effects, or other important aspects of the film. This information is always included in the opening lines or at the top of the review. 2. Graphic design elements---usually, movie reviews include some kind of art or graphic taken from the film itself to call attention to the review and draw readers into it.
  • A Conversation Analysis of Interruption in High School Musical Movie Series

    A Conversation Analysis of Interruption in High School Musical Movie Series

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Lumbung Pustaka UNY (UNY Repository) A CONVERSATION ANALYSIS OF INTERRUPTION IN HIGH SCHOOL MUSICAL MOVIE SERIES A THESIS Presented as Partial Fulfilment of the Requirements for the Attainment of a Sarjana Sastra Degree in English Language and Literature By Ana Shofia Amalia 10211141037 ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM ENGLISH EDUCATION DEPARTMENT FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2016 MOTTOS “…And whoever fears Allah and keeps his duty to Him, He will make a way for him to get out (from every difficulty).” -Q.S. At-Talaq (65): 2- An arrow can only be shot by pulling it backward. So when life is dragging you back with difficulties, it means that it’s going to launch you into something great. So just focus, and keep aiming! -Anonymous- If you can’t fly then run, if you can’t run then walk, if you can’t walk then crawl, but whatever you do, you have to keep moving forward. -Martin Luther King Jr.- Miracle is another name for hard work -Kang Tae Joon, To the Beautiful You- Success is not the key to happiness. But happiness is the key to success. If you love what you are doing, you will be successful. -Albert Schweitzer- v DEDICATIONS This thesis is specially dedicated to: My Beloved Parents and My Dearest Brother vi TABLE OF CONTENTS TITLE...................................................................................................................... i APPROVAL SHEET ............................................................................................
  • Creative Writing, A.A. - Screenwriting Concentration Fall 2020 Student's Name: Advisor's Name

    Creative Writing, A.A. - Screenwriting Concentration Fall 2020 Student's Name: Advisor's Name

    Creative Writing, A.A. - Screenwriting Concentration Fall 2020 Student's Name: Advisor's Name: ENGL049 - Accelerated Reading and RDNG 116 - College Reading and Study Skills Student may need to Writing Skills for ENGL100 OR take the following ENGL098 - Accelerated Writing Skills for MATH 090 - Pre-Algebra courses: ENGL100 MATH 095 - Beginning Algebra Grade Earned Semester Course Requirement Course Title Credits Min. Grade T - Transfer Completed FIRST YEAR FALL ENGL 100 Academic Writing I 1 3 C ENGL 135 OR Short Narrative Film Writing OR ENGL 261 Visiting Writer Series 1 Liberal Arts Elective 3 SUNY GEN ED Mathematics Elective 3 SUNY GEN ED Social Sciences Elective 3 Unrestricted Elective 2 3 Total Credits 16 SPRING ENGL 101 Academic Writing II 3 3 ENGL 102 Approaches to Literature 3 3 ENGL 200 Screenwriting 3 ENGL 233 Film Analysis 3 SUNY GEN ED Science Elective 4 3 Total Credits 15 SECOND YEAR FALL ENGL 201 OR Public Speaking OR 3 ENGL 204 Interpersonal Communication ENGL 216 Advanced Screenwriting 3 ENGL 256 Playwriting or ENGL Elective 3 ENGL 274 Marketing the Screenplay 1 SUNY GEN ED Foreign Language Sequence Elective 5 3 Unrestricted Elective 6 3 Total Credits 16 SPRING ENGL 237 OR Journalism OR ENGL 258 Creative Nonfiction 3 ENGL 255 Writing Television Drama & Comedy 3 5 SUNY GEN ED Foreign Language Sequence Elective 3 SUNY GEN ED Restricted Elective 7 3 Unrestricted Elective 6 3 Total Credits 15 Minimum Credits Required for Graduation: 62 1 A C or better grade is required in ENGL 100. A student exempted from ENGL 100 must substitute a three credit liberal arts elective.
  • Writer's Workshop (WRWS) 1

    Writer's Workshop (WRWS) 1

    Writer's Workshop (WRWS) 1 WRWS 2400 FOUNDATIONS OF SCREENWRITING (3 credits) WRITER'S WORKSHOP This course introduces the student to the foundational elements of screenwriting. The student will learn and practice the techniques of conveying a story in images and sound, creating characters with human (WRWS) motives and conflicts, editing for economy and thematic significance. Proper script formatting will be taught and expected. WRWS 1010 CONTEMPORARY WRITERS:IN PERSON IN PRINT (3 Prerequisite(s)/Corequisite(s): English 1160 or equivalent. credits) Distribution: Humanities and Fine Arts General Education course An introduction to reading contemporary literature by studying the ways in which a writer shapes a poem or tale to communicate with an audience. WRWS 2600 BASIC SCREENWRITING AND TELEVISION WRITING Emphasizes the most contemporary prose and poetry and includes a series STUDIO (4 credits) of readings and classroom visits by guest writers whose books are the texts This studio introduces the fundamentals of screenwriting. The student will for the class. produce a pitch, outline and completed industry-standard screenplay that Prerequisite(s)/Corequisite(s): ENGL1160 or equivalent. Not open to conveys a story, creates characters, and is edited for economy and theme. non-degree graduate students. Proper script formatting will be taught and expected. Prerequisite(s)/Corequisite(s): WRWS 2050, or WRWS 2060. Not open WRWS 1500 INTRODUCTION TO CREATIVE WRITING (3 credits) to non-degree graduate students. An introduction for non-majors in creative writing to the art and craft of writing fiction, poetry, and creative nonfiction. Follows a workshop format WRWS 3000 SELECTED TOPICS IN WRITING (1-3 credits) based on individual and group critique of students' writing, discussion This course presents selected theoretical and practical approaches of principles and techniques of the craft, and reading and analysis of to crafting one or more the following genres: poetry, fiction, creative instructive literary examples.
  • Police Capture Four Suspects in West Meade Armed Robbery

    Police Capture Four Suspects in West Meade Armed Robbery

    Wednesday, January 9, 2008 Vol. 32 No. 2 WIN FREE MOVIE TICKETS See the Where’s Wally ad for details on how to win FREE Movie Passes to Bellevue Regal 12! Police Capture Four Suspects in West Meade Armed Robbery Outstanding police work 16, of Kingston Street, were by West Precinct Patrol taken into custody without Bellevue Officer Mac Peebles led to the incident. Two handguns were arrest Monday afternoon of recovered from the car. four suspects charged with Collins admitted using the Christian robbing a couple at gunpoint victim’s credit card to fill his outside their residence at the gas tank and also told officers Church Valley Ridge Apartments at where they could locate her 6501 Harding Pike in West purse. All four are charged Holds Meade. with aggravated robbery. Officer Peebles spotted Collins was charged with Second the suspect’s getaway car, a robbing a woman in the park- Antwon Russell Donta Waggoner Sunday black 1992 Honda Civic, min- utes after the 4:40 p.m. rob- ing lot of Opry Mills last June. Singalong bery. He activated his blue He was free on $75,000 bond. lights and the driver, He was also convicted in June The first Second-Sunday Deanthony Collins, 19, of of unlawful weapon posses- Singalong of 2008 is January Creekwood No., stopped the sion in a separate incident. 13th, at 9:30 AM, at Bellevue car in the 300 block of White Collins is currently being held Christian Church. This won- Bridge Road. Collins and his on $80,000 bond. derful event just might be the passengers, Antwon Russell, Kinnear’s arrest history best-known "secret" among 16, of Fowler Street, Dion reflects theft convictions.
  • Carmel Pine Cone, July 27, 2012 (Main News)

    Carmel Pine Cone, July 27, 2012 (Main News)

    Volume 98 No. 30 On the Internet: www.carmelpinecone.com July 27 - August 2, 2012 Y OUR S OURCE F OR L OCAL N EWS, ARTS AND O PINION S INCE 1915 CHOMP nursing A tunnel with a view County asks for quick supervisor files suit, dismissal of Collins claims she was fired lawsuit as SLAPP because she’s black n He calls strategy ‘sheer nonsense’ By KELLY NIX n She is mother of Reggie Doucet, THE COUNTY has made good on its threat to be killed by LAPD officers in 2011 aggressive in its defense of a $25 million libel lawsuit filed by former county water board director Steve By KELLY NIX Collins, who is awaiting trial on several felony charges for conflicts of interest over the defunct regional desali- A FORMER assistant nursing director at nation project. Community Hospital of the Monterey Peninsula filed a On July 18, attorneys for Monterey County asked a lawsuit against the hospital last week claiming she was judge to dismiss a lawsuit filed against the county by harassed, discriminated against and ultimately fired Collins, who prosecutors say was lobbying for the desal because she is black. PHOTO/COURTESY CALTRANS plant’s approval while he was also paid $160,000 from In an 18-page lawsuit, Odessa Doucet, 42, who was If you’re headed to San Simeon anytime soon, you’ll get a good look at a RMC Water & Environment, a consulting firm that was fired March 3, 2010, alleges her supervisors at the hos- new landmark on the Big Sur coast.
  • Writers' Program

    Writers' Program

    150 Writers’ Program Enroll at uclaextension.edu or call (800) 825-9971 Reg# 264053CA Through Mar 7: $419 / After: $460 Creative Writing Westwood: 320 1010 Westwood Center ✷✷Thu 11am-2pm, Apr 7-May 26, 8 mtgs WRITERS’ PROGRAM Choose the right course for you. For advise- No refund after Apr 11. ment on on-site creative writing courses, call Steven Wolfson, MFA, award-winning playwright, and Sarah Lim at (310) 825-9416 or Katy Flaherty founding member of The Mark Taper Forum’s Mentor 150 Creative Writing General Interest at (310) 206-0951. Many creative writing Playwrights Project. Mr. Wolfson’s latest play, The courses also are offered online; see page 158. Absence of Wanting, premiered in Portland in 2012, 151 Fiction followed by its European premiere in Berlin. A WGA 152 Creative Nonfiction member, Mr. Wolfson is the recipient of UCLA Exten- General Interest: sion’s Outstanding Instructor Awards in both Creative 154 Poetry Beginning & Novice Writers Writing and Screenwriting. 154 Publishing NEW COURSE 154 Playwriting These basic creative writing courses are for students with little or no prior writing experi- The Art of the Tell: Crafting Stories for 154 Writing for the Youth Market ence. Instruction is exercise-driven; the pro- a Paperless Performance X 432.77 Film & Television 2 units 155 Online Creative Writing cess of “workshopping,” where students are asked to share and offer feedback on each The tradition of oral storytelling goes back to the begin- 158 Online Screenwriting others’ work with guidance from the instruc- ning of language. Early man would sit near his recent invention, “fire,” and enthrall the clan with tales of his tor, is introduced.