144 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

WRITING X 445.1WS Writing the Young Adult Novel Writers’ Program 3.0 units WRITING & Whether you have a burning desire to write a novel for young people or are just interested in learning about this genre, this workshop teaches you all the elements Creative Writing that go into creating compelling stories with fascinating, For help in choosing a course or determining if a sympathetic young characters and delves into what it course fulfills certificate requirements, contact the takes to write in direct, strong, often lyrical prose. Writers’ Program at (310) 825-9415. Jump-starting your book in this stimulating, supportive, JOURNALISM and challenging four-day Writers Studio environment provides you with a great sense of satisfaction, and in the process, you engage in lots of lively discussions, Writers Studio learn through lectures and close observation of your A four-day event consisting of 12 writing work- own and your peers’ work, create new bonds, and find shops taught by some of the best screenwriting out more about yourself. By the end of the workshop, and creative writing teachers in Los Angeles. you have in hand an outline and rough first chapter, and the inspiration and tools you need to finish your book WRITING X 411.1WS on your own. Writing Your First Novel Reg# 371054 3.0 units Fee: $985 Writing the first novel can be daunting, at times, even No refund after 28 Jan. downright lonely. Though being a writer means being ❖❖ Classroom alone, writing on your own, it’s good to come out of the 4 mtgs cave and seek the company of other like-minded Thursday, 9am-6pm, Feb. 27 individuals for inspiration, support, and to brainstorm Friday, Saturday, Sunday, 10am-6pm, WRITER’S PROGRAM 154 POETRY ideas. In this class, you are part of a small group of Feb. 28-Mar. 1 writers working towards the same goal—to write an UCLA Extension 1010 Westwood: CREATIVE WRITING 154 EDITING AND PUBLISHING amazing first novel. Together, we explore the elements 1010 Westwood Blvd. of successful novel writing, develop three-dimensional Enrollment limited to 15 students. Visitors not permit- characters, and understand structure, plot, and scene 144 Writers Studio SCREENWRITING ted. $150 nonrefundable. c dynamics. This intensive workshop consists of reading Erin Entrada Kelly, New York Times-bestselling author 147 Basics of Writing 155 Special Topics for Film assignments (where you will learn what it means to whose work has been translated into more than 30 “read like a writer”), in-class exercises, assigned writ- languages. Ms. Kelly is a recipient of the Newbery 148 Special Topics for All Writers & Television Writers ing, lectures on craft, and the give-and-take of critique Medal, Golden Kite Honor Award, and APALA Award for workshops. The goal is for you to create a solid outline Children’s Literature, among others. FICTION FEATURE FILM of your novel (or a solid plan for finding your way to the heart of your story), write a first chapter, and acquire WRITING X 423.1WS 149 Beginning Fiction Writing 157 Beginning Feature the tools you need to keep you going when you return Writing Your Memoir to your cave. 3.0 units 150 Intermediate Fiction Writing Film Writing Reg# 371141 Humorous coincidences, extreme trauma, famous Fee: $985 exploits—these are often mistaken as the ingredients 151 Advanced Fiction Writing 158 Intermediate Feature No refund after 28 Jan. necessary for memoir writing. Not true. The real work Film Writing ❖❖ Classroom of memoir is about turning life into art, the kind of lit- CREATIVE NONFICTION 4 mtgs erature that speaks to the humanity of us all. This 159 Advanced Feature Thursday, 9am-6pm, Feb. 27 four-day intensive class is unlike any other in the way 151 Beginning Creative Friday, Saturday, Sunday, 10am-6pm, it helps writers enter the psychological space where Film Writing Feb. 28-Mar. 1 their deepest stories lie. It then provides them the tools Nonfiction Writing UCLA Extension 1010 Westwood: for rendering those stories in compelling prose. Special 152 Intermediate Creative TELEVISION 1010 Westwood Blvd. focus is given on how to forge an involving story line Enrollment limited to 15 students. Visitors not permit- out of the unwieldy mass of life experience. You learn Nonfiction Writing 159 Beginning Television Writing ted. $150 nonrefundable. c to employ fictional techniques, like characterization, Noel Alumit, author of the novels Letters to Montgom- dialogue and plot, to transform personal experience into 152 Advanced Creative 160 Intermediate Television ery Clift and the Los Angeles Times bestseller Talking artful stories relevant to readers. Self-revelation, per- Nonfication Writing Writing to the Moon (2007). Mr. Alumit’s work has been pub- haps the form’s greatest challenge, is explored in depth. lished in USA Today, The Advocate, The Huffington Post, You also learn how to transfer the people in your life 160 Advanced Television Writing and others, and his awards include the Stonewall Book onto the page with integrity and honesty. Finally, the WRITING FOR YOUNG READERS Award. course will provide the insight and experience of guest authors, which also serves as a great networking 152 Writing Picture Books 161 JOURNALISM opportunity. 153 Writing for Kids and Middle Reg# 371162 Fee: $985 Grade Readers No refund after 28 Jan. ❖❖ Classroom 153 Writing for Young Adults 4 mtgs Thursday, 9am-6pm, Feb. 27 Friday, Saturday, Sunday, 10am-6pm, For more information call Writers’ Program (310) 825-9415 Feb. 28-Mar. 1 UCLA Extension 1010 Westwood: Journalism (310) 825-7093. 1010 Westwood Blvd. Enrollment limited to 15 students. Visitors not permit- ted. $150 nonrefundable. c WHAT OUR STUDENTS SAY Antonia Crane, MFA, author of the memoir Spent. Ms. Crane is the 2018 Creative Nonfiction Grand Prize Winner for PRISM International magazine and the Dis- tinguished Alum in the area of Activism and Community “The Writers’ Program class provided me with an m ONLINE COURSE, page 5. Service (AULA). She has written for The New York Times, Quartz, Bustle, Narratively, The Establishment, amazing foundation of what I needed as a writer, g HYBRID COURSE, page 5. The Rumpus, Buzzfeed, DAME, among others. and I can, at different stages of my career, refer c WEB-ENHANCED COURSE, page 5. back to my notes and still learn more each time.” v ON-GROUND COURSE, page 5. & TEXTBOOK REQUIRED ——Zimran Jacob, former Writers’ Program student who was hired to write C for television shows such as Hannibal, Narcos, Hemlock Grove, and F is UC CREDIT, page 6. For Family. Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 145

UCLA Extension Writers’ Program Presents Writers Studio 2020 4-Day Intensive Workshops in Screenwriting & Creative Writing Thursday–Sunday, February 27–March 1; Westwood: UCLA Extension 1010 Westwood ­Center

What Is the Writers Studio? Writers Studio 2020 Workshops Writers Studio Fee Push aside the demands and deadlines of This year’s workshops offer a rich variety of An early enrollment discount is available for daily life, and dive into your writing at the learning experiences. all enrollments received until December 9*. Writers Studio. Use discount code “EARLY.” After December 9, During 4 intensive days, you learn and Creative Writing Workshops the Writers Studio fee is $985. write in a workshop equivalent to a regular Writing the Young Adult Novel • Registration in one 4-day workshop 10-week Writers’ Program course. Instructor: Erin Entrada Kelly • Continental breakfast on Thursday morning Select 1 workshop from a choice of 12, each Writing Your Memoir • Complimentary coffee and snacks daily taught by a Writers’ Program instructor Special guests on Friday and Saturday who is also an accomplished screenwriter, Instructor: Antonia Crane • Book sale on Saturday novelist, short fiction writer, editor, or­ Writing the Personal Essay • Sunday reception with light refreshments ­creative nonfiction writer. Instructor: Amy Friedman • Writing Memorable Scenes for Fiction Refund Policy and Nonfiction A $150 administrative fee is withheld from Instructor: Natashia Deon all refunds. Refund requests must be Writers Studio Instructor Katie Dunham Writing Your First Novel postmarked or phoned in by January 28. No refunds are available after that date Instructor: Noel Alumit (full refund if workshop is canceled, How to Enroll Structuring Your Story discontinued, or rescheduled). Online Instructor: Jeanne De Vita Visit writers.uclaextension.edu/writers-studio Marketing and PR for Agents and Writers for full information on the Writers Studio. Instructor: Katie Dunham Follow the links to complete your secure enrollment. Screenwriting Workshops Phone Creating the Half-Hour Television Pilot Enrollment by phone is highly recom- Instructor: Eric Abrams mended as you will find out immediately which workshops are available. Call Creating the One-Hour Television Pilot (800) 825-9971 and have your American Instructor: Zac Hug Express, ­Discover, JCB, MasterCard, or VISA ready. Writers Studio Instructor Roberto Marinas Writing Your First Feature Film Instructor: Koji Steven Sakai Other Requirements Creating Powerful Scenes and Sequences Attendees will be emailed detailed logisti- for Film and TV cal information beginning in November. Instructor: Roberto Marinas Please provide your email address when you register. Showrunners Bootcamp Writers Studio Instructor Erin Entrada Kelly Instructor: Cynthia Hsiung Pages 00–00.

Praise from One of Last Year’s Participants “ I recommend the Writers Studio for its invaluable instructors, practical knowledge, and connections to the current industry.” — Elliot Nelson Seidel, Melbourne, Australia, 2019 Writers Studio Participant

* Discounts cannot be combined. Discount code is case sensitive.

For More Information About the Writers Studio [email protected] | (310) 825-9415 | writers.uclaextension.edu/writers-studio 146 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

WRITING X 422.1WS NEW might be your ticket into the business of writing half- ted. $150 non-refundable. c Writing the Personal Essay WRITING X 455.3EWS hour shows. Koji Steven Sakai, MFA, award-winning screenwriter/ 3.0 units Marketing and PR for Writers and Reg# 371170 producer/novelist and WGA member, whose feature The personal essay inspires both readers and writers Agents Fee: $985 credits include Dying to Kill, Monsters & Me, #1 Serial to discover new perspectives for looking at the world, 3.0 units No refund after 4 Nov. to 28 Jan. Killer, The People I’ve Slept With, and Haunted Highway. understanding their own lives, and discovering meaning This course provides a comprehensive introduction to ❖❖ Classroom Mr. Sakai has produced a comedy special for Netflix in even those moments that without pondering might communications with a focus on personal branding, 4 mtgs and the series Comedy InvAsian. seem unimportant. It is also among the most market- public relations, and marketing. Aspiring authors or Thursday, 9:30am-5:30pm, Feb. 27 able of genres. In this four-day course, you engage in literary agents will learn about the work of a book Friday, Saturday, Sunday, 10am-6pm, SCRIPT X 415.1WS writing exercises, small group work, readings of master publicist or marketing professional and the skills neces- Feb. 28-Mar. 1 Creating Powerful Scenes and essayists, workshopping, and studying marketing sary to effectively communicate about a book or literary UCLA Extension 1010 Westwood: Sequences for Movies and TV techniques, and in the process, unearth new story project to a wide audience. Students will emerge from 1010 Westwood Blvd. 3.0 units ideas, create messy first drafts, and learn the art and the weekend with the tools necessary to effectively Enrollment limited to 15 students. Visitors not permit- The secret to success as a screenwriter or episodic TV joy of rewriting as well as the pains and pleasures of communicate about and pitch their project or client in ted. $150 non-refundable. c writer is being able to write powerfully constructed publication. By the end of our four days together, you a multitude of ways. Eric Abrams, screenwriter/producer and WGA member, scenes populated by original characters that compel a will have crafted one 500-to-2,000-word personal whose television credits include Liv & Maddie, Married reader to want to keep reading. This intensive workshop essay, as well as planted and begun to develop seeds Reg# 371049 Fee: $985 with Children, Abby, among many others. Mr. Abrams analyzes highly successful scenes and sequences as for many future essays. Suitable for both new and co-wrote the feature film Crocodile Dundee in Los well as provides structured writing assignments and experienced writers. No refund after 28 Jan. ❖❖ Classroom Angeles and has sold pilots to Fox, NBC, CBS, and UPN. review of your work in order to provide the tools neces- Reg# 371161 4 mtgs sary to conceive, write, and edit professional-caliber Fee: $985 Thursday, 9am-6pm, Feb. 27 SCRIPT X 422.3WS scenes and sequences. By working on emotional con- No refund after 28 Jan. Friday, Saturday, Sunday, 10am-6pm, Creating the One-Hour Television Pilot text, narrative intensity, organic escalations, and high- ❖❖ Classroom Feb. 28-Mar. 1 3.0 units impact pacing, you create memorable scenes essential 4 mtgs UCLA Extension 1010 Westwood: Anyone who wants to work as a professional television for any successful screenplay or pilot. Throughout the Thursday, 9am-6pm, Feb. 27 1010 Westwood Blvd. writer has to be able to submit top-notch original mate- course, you hear your scenes workshopped, and receive Friday, Saturday, Sunday, 10am-6pm, Enrollment limited to 15 students. Visitors not permit- rial to agents and showrunners. In this fast-paced feedback on the dynamics of your work. You leave the Feb. 28-Mar. 1 ted. $150 nonrefundable. course, you take your idea for a one-hour TV series and course with a set of scenes written/re-written, new UCLA Extension 1010 Westwood: c writing tools, and fresh insights into your work, includ- Katie Dunham, arts and culture communications run it through a basic structure of beginning, middle 1010 Westwood Blvd. ing a scene-writing checklist that you are able to use consultant whose clients include CalArts, Los Angeles and end. From there, we talk about the world of your Enrollment limited to 15 students. Visitors not permit- as a “scene enhancer” for years to come. Times, and USC, and past experience includes the show and the characters who inhabit that world. Finally, ted. $150 nonrefundable. c GRAMMY Museum, Los Angeles County Museum of Art, we work those things into an outline for a pilot episode, Reg# 371223 Amy Friedman, MA, author of four memoirs, including LA Plaza, Library Foundation of Los Angeles, Natural write intensively, and get feedback from the instructor Fee: $985 Desperado’s Wife, and One Souffle at a Time: A Memoir History Museum, and more. and fellow participants. Throughout this process, you No refund after 20 Feb. of Food and France (with Anne Willan). Ms. Friedman learn how to envision the world of your show; create ❖❖ Classroom has also written several children’s books and thousands WRITING X 461.12EWS characters and conflict, build a storytelling engine; and 4 mtgs of essays and stories. She is a recipient of the UCLA nail down your show’s structure, tone, story, and act Thursday, 9:30am-5:30pm, Feb. 27 Writing Memorable Scenes for Fiction breaks. By the end of course, you have strong act Extension Outstanding Instructor Award in Creative and Nonfiction Friday, Saturday, Sunday, 10am-6pm, Writing. breaks, a full beat outline, and both a one-page and Feb. 28-Mar. 1 3.0 units 10-page pitch document. UCLA Extension 1010 Westwood: The writing of powerfully constructed scenes featuring NEW 1010 Westwood Blvd. compelling characters is the key to any work of fiction Reg# 371216 Enrollment limited to 15 students. Visitors not permit- WRITING X 461.22EWS or nonfiction’s success. This intensive workshop gets Fee: $985 ted. $150 nonrefundable. Structuring Your Story you writing and rewriting your own scenes, and arms No refund after 20 Feb. c ❖ 3.0 units you with a specific skill set that enables you to improve ❖ Classroom Roberto Marinas, MFA and screenwriter/producer, If every project starts with a compelling idea, the jour- and elevate your work. Drawing on great scenes and 4 mtgs whose credits include Lasso, Headgame, and Alien Vs. ney to completing that project begins with an under- sequences from memorable novels, short stories, per- Thursday, 9:30am-5:30pm, Feb. 27 Zombies. His award-winning screenplay Last Road standing of structure. Structure is the foundation—the sonal essays, and memoirs throughout the course, you Friday, Saturday, Sunday, Thursday, 10am-6pm, Home was selected for the 2007 Tribeca Film Festival, bones—of a well-executed story. This intensive work- learn to identify the essential building blocks for the Feb. 28-Mar. 1 and he is also a recipient of the Walt Disney Studios shop will provide practical instruction in the two most creation of dynamic scenes; work with conflict, subtext, UCLA Extension 1010 Westwood: Screenwriting Fellowship. popular narrative formats: the three-act structure and characterization, dialogue, and imagery; get feedback 1010 Westwood Blvd. the hero’s journey. Relying on examples from popular that will up your game; and make significant headway Enrollment limited to 15 students. Visitors not permit- SCRIPT X 426.1WS and canonical works of both fiction and nonfiction, we in creating an eminently marketable project. ted. $150 nonrefundable. c Showrunners Boot Camp define the essential building blocks of an effective story Zac Hug, MFA, television writer, playwright, WGA 3.0 units Reg# 371055 and test the strength of those building blocks with member whose credits include Drop Dead Diva, Shad- How do you create a narrative dramatic series, sell it, Fee: $985 practical exercises. We develop plot grid templates for owhunters, and Hallmark movies Road to Christmas and have the series made, all while keeping your vision No refund after 28 Jan. both narrative formats and write scenes that allow and the Christmas in Evergreen series. Other credits a priority in every aspect of the creative process? This ❖❖ Classroom authors the opportunity to build the connections include the webseries These People, and the Outfest is the role of the showrunner—the lead producer/writer 4 mtgs between the pieces that form a strong foundation. short filmLazy (Sunday). on a television or digital series, responsible for the Thursday, 9am-6pm, Feb. 27 Whether you have an idea or completed draft that just creative vision along with the business and logistical Friday, Saturday, Sunday, 10am-6pm, isn’t holding together, this intensive workshop not only SCRIPT X 410.1WS aspects of a series. There is currently a high demand Feb. 28-Mar. 1 presents the essential elements of storybuilding but for skilled showrunners, and in this workshop, we focus UCLA Extension 1010 Westwood: Writing Your First Screenplay provides tools and practical templates applicable to on demystifying what a showrunner does. This work- 1010 Westwood Blvd. 3.0 units authors working in many genres and media. shop is set-up as a boot camp in intensity, exploring Enrollment limited to 15 students. Visitors not permit- Learning to write a screenplay is a process, and to do the breath of knowledge a showrunner needs using Reg# 371056 ted. $150 nonrefundable. it well can take years of practice. This workshop offers c two tried-and-true ways to make a lot of progress in a hands-on exercises, lectures, viewing of footage includ- Fee: $985 Natashia Deón, MFA NAACP Image Award nominee, short period of time as you: 1) learn how to write a ing dailies and rough cuts, discussing the pilot script No refund after 28 Jan. and author of the critically acclaimed novel Grace. Her strong outline and 2) get personalized feedback on your and series writing process, giving notes on scripts, as ❖❖ Classroom writing has appeared in American Short Fiction, work. A series of writing exercises and assignments well as covering the practical issues of production, 4 mtgs Buzzfeed, The Feminist Wire, and other places. She is help you master the basics of screenwriting, especially maximizing budgets, and overall series logistics. Thursday, 9am-6pm, Feb. 27 a practicing attorney, law professor, and creator of the the all-important screenplay structure, while also Friday, Saturday, Sunday, 10am-6pm, popular L.A.-based reading series Dirty Laundry Lit. Reg# 371222 Feb. 28-Mar. 1 exploring scene development, characterization, and Fee: $985 dialogue. Boil down your story into a one-sentence UCLA Extension 1010 Westwood: SCRIPT X 422.1WS No refund after 20 Feb. logline and then expand that into a complete outline for 1010 Westwood Blvd. Creating the Half-Hour Television Pilot ❖❖ Classroom Enrollment limited to 15 students. Visitors not permit- a feature-length script. With a solid, entertaining outline 4 mtgs 3.0 units ted. $150 nonrefundable. in hand, you leave the workshop ready to conceptualize Thursday, 9:30am-5:30pm, Feb. 27 c Today, you need that original half-hour pilot script in and begin work on your own script beyond the Friday, Saturday, Sunday, 10am-6pm, Jeanne De Vita, MFA, award-winning author and your portfolio to break into the business of writing classroom. Feb. 28-Mar. 1 freelance developmental editor for several publishing television comedy. In this lively workshop, discover the UCLA Extension 1010 Westwood: companies and authors of fiction and nonfiction. Ms. ingredients you need to create great sitcoms, learn Reg# 371167 1010 Westwood Blvd. De Vita also works as a “story doctor” for spec TV/film contemporary techniques to give comic conventions a Fee: $985 Enrollment limited to 15 students. Visitors not permit- projects. She writes and publishes romance under a fresh feel, and then set about turning your pilot concept No refund after 4 Nov. to 29 Jan. ❖ ted. $150 nonrefundable. pen name including serialized original content for into a show that has the “legs” to last five years. In a ❖ Classroom c Radish. professional writing room atmosphere, find and select 4 mtgs Cynthia Hsiung, producer, writer, director, and execu- the ideas to build that outline and unearth the unique Thursday, 9:30am-5:30pm, Feb. 27 tive who served as a producer and head of production ingredients you bring to the mix: your own comic sen- Friday, Saturday, Sunday, 10am-6pm, for Young Hercules, starring Ryan Gosling. Ms. Hsiung sibility, your experience, your creative inspiration, your Feb. 28-Mar. 1 was part of the team that launched The Larry Sanders cousin who runs the network. Okay, not everyone has UCLA Extension 1010 Westwood: Show and Taxi Cab Confessions at HBO, and was a a useful cousin, but you leave the workshop with a solid 1010 Westwood Blvd. creative executive for MTV’s The Real World. outline and encouragement to write the script that Enrollment limited to 15 students. Visitors not permit- Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 147

Reg# 371289 Basics of Writing Fee: $345 No refund after 11 Feb. These basic creative writing courses are for ❖❖ Classroom students with no prior writing experience. 6 mtgs Instruction is exercise-driven; the process of Thursday, 7-10pm, Feb. 6-Mar. 12 workshopping—in which students are asked to UCLA: Kaplan Hall share and offer feedback on each other’s work Enrollment limited to 20 students. with guidance from the instructor—is introduced. c Please call an advisor at (310) 825-9415 to deter- Cole Kazdin, MS, writer, performer, and Emmy-winning mine which course will best help you reach your television journalist. Ms. Kazdin is a regular contributor writing goals. to VICE and has written for The New York Times. She is a three-time Moth GrandSLAM champion, and tells WRITING X 400 stories onstage all across the country, on NPR, and in Introduction to Creative Writing the book All These Wonders. 2.0 units WRITING X 410 This six-week course is perfect for anyone just getting started on their path to being a writer. Students work in Fiction: Essential Beginnings small breakout sessions with experienced writers and 2.0 units teachers, then attend a lecture by various guest speak- Do you aspire to write creatively but don’t know where ers with expertise in fiction, poetry, nonfiction, or to start? This supportive workshop provides you with many techniques to motivate and guide you. You learn Writers’ Program screenwriting. Short assignments are workshopped in the weekly breakouts. The goal of the course is to how to transform observation and personal experience expose new writers to a variety of types of writing while into imaginative prose, create dynamic characters and getting their creative juices flowing. At the end of the dialogue, and write from different points of view. By the quarter, students will feel more confident about their end of the course, you will have in hand a series of short sketches or a draft of a short story and key tools Open House skills and will be prepared for further study of writing. you need to write creatively. Reg# 371270 Fee: $455 Reg# 371272 Tuesday, January 14, 3–5pm; UCLA Extension Gayley Center No refund after 13 Feb. Fee: $475 ❖ No refund after 10 Feb. Want to be a writer but don’t know where to start? The Writers’ Program at UCLA ❖ Classroom m 6 mtgs mOnline Feb. 5-Mar. 17 Extension invites you to a special Open House event, where you can learn more about Saturday, 1-4pm, Feb. 8-Mar. 14 who we are, what we do, and why we’re the best choice for your writing education. UCLA: School of Public Affairs Bldg. Enrollment limited to 15 students. c Enrollment limited to 12 students. Ronald Alexander, fiction writer and author of four Whether you’re a prospective student or a current student looking for more information c novels. He was nominated for a Pushcart Prize and was Norman Kolpas, author and editor whose several on all the opportunities available, the Open House is here to answer your questions hundred nonfiction pieces have appeared in many a finalist in the St. Andrews College Press Novella publications, including Bon Appetit, HOME, Elle, Sunset, Competition. His essays, poetry, and short stories have on our courses, certificate programs and specializations, competitions, scholarships, Southwest Art, and The Times of London. Mr. Kolpas been published in the Chicago Quarterly Review and mentorships, events, and more. also is the author of more than 40 nonfiction books and The Los Angeles Review, among others. consults with and ghost writes for many top personali- ties and brands. WRITING X 420 For More Information Nonfiction: Essential Beginnings Reg# 371271 2.0 units [email protected] | (310) 825-9415 Fee: $455 Sometimes the best stories are true. To help you turn No refund after 13 Feb. your personal experiences, anecdotes from everyday ❖❖ Classroom Reg# 371277 WRITING X 461.16E life, and family stories into compelling narratives, this 6 mtgs Fee: $475 workshop teaches beginning writers the basic elements Don’t Stop Writing! Saturday, 1-4pm, Feb. 8-Mar. 14 No refund after 10 Feb. 2.0 units of good storytelling. You learn how to excavate memo- UCLA: School of Public Affairs Bldg. mmOnline This intermediate workshop is designed for writers who ries and discover fresh or unexpected facets of your life Enrollment limited to 12 students. Feb. 5-Mar. 17 have begun the writing process but need a safe envi- c stories. Through weekly exercises, you generate new Enrollment limited to 15 students. ronment to continue their creative growth. Focusing on Shauna Barbosa, MFA, author of the poetry collection material and learn an array of fictional techniques to c Ploy Pirapokin, MFA, fiction writer whose work is in-class writing exercises that encourage creative Cape Verdean Blues (University of Pittsburgh Press). Ms. tell your nonfiction story, including how to play with featured in Tor.com, The Bellingham Review, Fiction expression and experimentation, the course highlights Barbosa’s poems have appeared in Boulevard, Lit Hub, voice, focus on a small unit of time, and describe International, and more. Ms. Pirapokin has taught as a important story elements such as 3-dimensional char- Lenny Letter, Awl, Colorado Review, Virginia Quarterly landscape and character. By the course’s completion, creative writing lecturer for San Francisco State Univer- acter arcs, alternating aspects of emotion, classic story Review, Foundry, Wildness, The Atlas Review, PANK, you will have in hand a series of short sketches or a sity and is currently a 2017-2018 Headlands Center for structure, and the art of revision. The final goal is the and others. She is a 2018 Disquiet International Luso- draft of a nonfiction piece. American fellow. the Arts Affiliate Artist. continuation and refining of each writer’s stories along Reg# 371273 with critical strategies to keep you writing for the rest WRITING X 404 Fee: $475 WRITING X 403 of your life. No refund after 10 Feb. Finding Your Story Reg# 371561 Defeating Distraction: Creating a mmOnline 2.0 units Fee: $345 Writing Practice Feb. 5-Mar. 17 The scariest part of writing is staring at that blank page! No refund after 4 Feb. 2.0 units Enrollment limited to 15 students. Whether you are writing a screenplay, short story, c This workshop is for anyone who has wanted to write ❖❖ Classroom Marianne Villanueva, MA, author of Jenalyn, Ginseng personal essay, or not even writing yet at all (but would but doesn’t know where to start, or for writers who feel 6 mtgs and Other Tales from Manila, The Mayor of the Roses: like to!), the way to create and finish any project is stuck and need a new form or jumping off point for Thursday, 11am-2pm, Jan. 30-Mar. 12 Stories, andThe Lost Language. Her stories have through a consistent and committed writing practice. unique story ideas. The course provides a safe, playful UCLA Extension 1010 Westwood: appeared in Juked, Witness, Bluestem, Your Impossible The regular discipline of writing can feel elusive and at atmosphere to experiment with different resources for 1010 Westwood Blvd. Voice, Café Irreal, Crab Orchard Review, and Bellingham times unattainable, but it can be done! In this course, stories, such as life experiences, news articles, inter- No meeting Feb. 27. Review. students learn the fundamentals of creating a lasting views, history, and mythology. A series of in-class Enrollment limited to 20 students. exercises explore or introduce different writing forms, writing practice as well as concrete tools to employ as WRITING X 402 Steven Wolfson, MFA, award-winning playwright, and defenses against procrastination and writer’s block. such as short stories, personal essay, plays, and even founding member of The Mark Taper Forum’s Mentor Class time will consist of lectures, in-class writing Finding Your Voice poems or songs, and generate a notebook filled with Playwrights Project. A WGA member, Mr. Wolfson is the prompts, and exercises to build craft, with homework 2.0 units unique story ideas from which you craft several short recipient of two UCLA Extension Outstanding Instructor assignments geared towards setting manageable goals You’ve lived, listened, seen, had a childhood—there’s pieces. Awards in Creative Writing and Screenwriting. and accountability. Think of it as “Couch to 5K” personal your raw material. Now it’s a question of channeling Reg# 371274 training—but for writing. Rather than focusing on revis- and shaping that experience with the tools of literary Fee: $475 ing or improving a particular writing project, the class craft. In this beginner’s course, you explore the basics No refund after 10 Feb. will focus solely on committing to the writing practice of the three major genres—fiction, nonfiction, and mmOnline itself. By the end of the course, students will have the poetry—reading and practicing within those areas of Feb. 5-Mar. 17 skills to build a sustainable writing practice that they expression to help you find the modes that best fit your Enrollment limited to 15 students. story and your voice. Each week you turn in short writ- c can maintain long after the class is over. All levels of Rochelle J. Shapiro, author of Miriam the Medium and writers are welcome. ing assignments that help you get your feet wet with Kaylee’s Ghost. Ms. Shapiro’s essays have been pub- craft aspects like description, character, dialogue, etc. lished in The New York Times and Newsweek. Her short kkk These assignments culminate in a finished short story, stories and poems have been published in many essay, or poem that you present on the last day of class anthologies and literary magazines, such as The Iowa to a supportive workshop. Review, Sedge, and Moment. kkk 148 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

NEW Special Topics for All Writers WRITING 761.5E The Phyllis Gebauer Courses in this section are open to students who Making Friends with Your Inner Critic want a deeper understanding of a specific craft Too often, our most compelling, honest, and original issue or area of study. These courses fulfill the writing is silenced by the ruthless critic that dwells in elective requirement for creative writing certifi- our heads. The voice of the inner critic often bullies us cates. Please call an advisor at (310) 825-9415 to into doubting the integrity of our own imaginations. In Scholarship in Writing determine which course will best help you reach this course, you explore the essential quality of the your writing goals. critical voice that lives in you. You become familiar with what creates this critical voice and what drives those This needs-based scholarship program is funded by the late Phyllis Gebauer, NEW insidious messages it sends. By working with a variety WRITING X 461.24 of writing exercises across literary genres (poetry, fic- a beloved Writers’ Program instructor who was passionate about providing Translation I tion, creative nonfiction), along with simple mindfulness learning opportunities for those who lack access. 3.0 units techniques, you learn new strategies that enable you to This class is primarily geared to writers who have never disarm the inner critic. By the end of the day, you make a surprising new friend (that dear inner critic!) and you Up to 6 scholars receive complimentary Applications are now available at translated before or who are just getting started in the process. You should have a basic or working knowledge have the beginnings of several new writing projects to enrollment in 3 full-length Writers’ writers.uclaextension.edu/scholarship. of another language, but you definitely need not be explore with an unfettered mind. Program courses during a 1-year period. Deadline to submit materials is June 19. fluent or even a comfortable speaker. You can translate Reg# 371421 from any language, but all students will be translating Fee: $159 work into English. The first half of the course will be No refund after 7 Feb. focused on readings and short exercises. You will learn ❖❖ Classroom from translators who have written about their process 1 mtg and you will get a range of perspectives on how to Saturday, 9am-5pm, Feb. 8 approach the craft. Weekly assignments will help you UCLA Extension 1010 Westwood: For More Information to process the readings, and short translation exercises 1010 Westwood Blvd. Enrollment limited to 25 students. (310) 825-9415 | writers.uclaextension.edu will help you to ease into this exciting form of writing. The second half of the course will be devoted to work- Lesley Hyatt, MFA and Fulbright Scholar, has taught shopping the pieces you have chosen to translate. imaginative writing to students of all ages and back- Reg# 371362 grounds for over 20 years. She is the founder of The Fee: $575 WriteMind Project, a course that bridges creative writing No refund after 19 Jan. and mindfulness practice, and also Joyriders LA, an ❖❖ Classroom ongoing mindfulness class. 10 mtgs Tuesday, 7-10pm, Jan. 14-Mar. 17 NEW UCLA: Bunche Hall WRITING 761.7E Elisa Wouk Almino, MA, writer, editor, translator. Inspiring Our Muse: Translated This House by Ana Martins Marques, Scram- Nurturing the Writer Within bler Books (2017). Ms. Almino teaches translation at The creative process abounds in mystery: Where do our Catapult and is a senior editor at Hyperallergic and ideas come from? Why is inspiration sometimes elu- translation editor at harlequin creature. Her work has sive? Are there strategies for improving access to appeared in Guernica, Paris Review, n+1, Words With- creativity? This one-day workshop addresses these out Borders, Washington Square Review, and questions through writing, discussion, and analysis. elsewhere. Students experiment with several techniques for spark- ing the imagination and generating stories, personal NEW essays, and/or memoirs. Students leave the workshop WRITING X 461.23 with draft sketches of several short pieces or one longer The Art of Creative Research piece, as well as with ideas for sustaining and nurturing 3.0 units an inspired writing practice at home. All writers conduct research and every genre benefits Reg# 371396 from systematic query and investigation. Whether Fee: $159 Writer Friendly Careers gathering family stories via oral history, re-walking Paul No refund after 28 Feb. Revere’s path for a dystopian novel of historical fiction, ❖❖ Classroom shadowing a group of surfers for the sake of a narrative 1 mtg Saturday, February 8, 10am–1pm; UCLA Extension Gayley Center profile, observing open heart surgery in making the pilot Saturday, 9am-5pm, Feb. 29 of a hospital drama surge with realism, or fact-checking UCLA Extension Gayley Center: dates for a sociopolitical performance poem, inquiry 1145 Gayley Ave. Want to use your writing skills professionally? Considering a career as an and investigation enriches all forms of storytelling. Enrollment limited to 25 students. editor, literary agent, or even … ghost writer? Developing your craft as a writer Advanced and novice writers will develop a project- Daniel M. Jaffe, MFA, internationally published fiction is often just the first step in pursuing work within the wide world of Editing specific research portfolio experientially by accessing writer, essayist, and literary translator whose latest special collections, searching physical and electronic novel is The Genealogy of Understanding, a Rainbow and Publishing. archives, handling historical artifacts, utilizing expedi- Award finalist and honorable mention. Mr. Jaffe’s other tions to geographical environments, and managing work includes The Limits of Pleasure, selected by In this three-hour course, Writers’ Program instructors Julia Callahan, Jeanne De Vita, living sources ethically, ready to integrate their findings ForeWord Magazine as a Book of the Year Award Katie Dunham, Seth Fischer, Tobi Harper, and Eve Porinchak share their expertise in into literary works. By the end of the course, writers finalist. possess a portfolio of information gathered to enhance Editing and Publishing and offer writers of all levels insight on building a career out of a either a project in progress or future works. WRITING X 461.14E basic love of writing. Reg# 371316 Writing the Erotic Fee: $695 3.0 units No refund after 20 Jan. Writing about sex can be challenging. This course helps mmOnline writers build erotic writing grounded in various charac- Jan. 15-Mar. 24 ters, settings, and voices. We explore how humor, bad Enrollment limited to 15 students. c sex, or even problematic sex lend themselves to a Shawna Kenney, MFA, award-winning author of the fuller—and more erotic—interaction between two memoir I Was a Teenage Dominatrix and Contributing characters to establish a relationship between sex and Course Icons Provide Information At-a-Glance Editor with Narratively magazine. Her latest book is Live literature, as well as how we make it fit naturally in the at the Safari Club, and her essays have been published flow of a good story. This course encourages students in The New York Times, Playboy, Creative Nonfiction, to take chances and experiment with building eroticism m ONLINE COURSE & TEXTBOOK REQUIRED and more. into their work, or creating a story that is primarily Technical requirements, page 5. Visit our website for textbook information. driven by the erotic, along the lines of Pauline Reage’s Story of O or George Bataille’s The Story of the Eye. g HYBRID COURSE, page 5. C UC CREDIT Students leave the course with an understanding of WEB-ENHANCED COURSE, page 5. May be transferable­ to other both erotic writing as a genre, and incorporating the c colleges and universities, page 6. erotic into other writing. v ON-GROUND COURSE, page 5. kkk Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 149

Reg# 371418 WRITING X 432.6E Fee: $695 Hybrid and Cross-Genre Poetics No refund after 20 Jan. 2.0 units mmOnline A New Certificate in Techniques of poetry are ubiquitous in advertising and Jan. 15-Mar. 24 popular music, and professional writers across genres Enrollment limited to 15 students. c attest to poetry’s utility for sharpening one’s skills—for Trebor Healey, author of three novels, a book of poetry, reasons not unlike why football players study ballet. and three collections of stories, Mr. Healey co-edited Through an exploration of hybrid poetics, students Literary Representation Queer & Catholic and Beyond Definition: New Writing strengthen and diversify their toolbelt of creative tech- from Gay and Lesbian San Francisco. His poetry has niques. Students develop new ways to explore and appeared in anthologies including Corpus and Queer cultivate their creativity through readings, discussions, Dharma: Voices of Gay Buddhists. He is a recipient of experiments, and creation of new work in a variety of The Certificate in Literary Representation Required Courses provides practical education and profes- the Lambda Literary Award. hybrid forms, blending poetry with other forms of liter- WRITING X 455.3 Marketing and PR for ary art, as well as with visual and performing arts. sional development for people who want Writers and Agents, page 00. WRITING X 413.4E Writers from all genres and backgrounds welcome. to transition into a career as a literary Writing the Fantastic Students leave the course with a portfolio of hybrid WRITING X 455.2 Building a Network 3.0 units poetic works and a deeper understanding of the ways agent, representing writers’ books to This course expands the study of science fiction and in which hybridity can broaden a writer’s audience and ­publishers and linking together the artistic of Writers, Editors, and Publishers, fantasy writing to include both short and novel-length evolve their voice and imagination. and commercial elements of writing and page 00. fiction. Infusing a narrative with originality and fantastic Reg# 371420 publishing. Students complete four WRITING X 451.2 Developmental literature’s much-discussed “Sense of Wonder”—while Fee: $345 ­foundational courses and round out their at the same time preserving its clarity and heart—is a No refund after 16 Feb. Editing, page 00. juggling act that can test a writer’s skills to the utmost. ❖❖ Classroom education with an internship or special Writing the Fantastic places emphasis on meeting this 6 mtgs topic coursework. WRITING X 455.1 Contracts, Rights, challenge by merging the otherworldly content of Tuesday, 7-10pm, Feb. 11-Mar. 17 Certificate Candidacy Fee: $200 and Signing Authors speculative fiction with humane, emotionally powerful UCLA: School of Public Affairs Bldg. storytelling. Through exercises and readings, students Enrollment limited. Early enrollment advised. deepen their understanding of the speculative sub- Amber West, MFA, PhD, playwright, and author of the genres: alternate history, time-travel, horror, dark fan- poetry collection Hen & God and the chapbook Daugh- tasy, sword and sorcery, urban fantasy, sociological ter Eraser. Ms. West’s writings have appeared in jour- novel and receive expert advice about selling it. science fiction, and hard science fiction. The course nals and anthologies such as Calyx, Puppetry WRITING X 412.1 goal is to submit a short story or novel fragment to the International, and Furies: A Poetry Anthology of Women Short Story I Reg# 371454 class for review, and then to utilize this workshop Warriors. She is the co-founder and director of the artist 3.0 units Fee: $695 feedback to form and execute a revision plan. collective Alphabet Arts. It is said that all of us have locked inside at least one No refund after 20 Jan. Reg# 371597 good story to tell. Through lectures on craft, short writ- mmOnline Fee: $695 ing exercises, assignments, and discussion, you learn Jan. 15-Mar. 24 No refund after 20 Jan. how to tell yours. Topics include plot, point-of-view, Don Webb, author of 24 books including a St. Martin’s mmOnline setting, description, conflict, characterization, dialogue, Press mystery series, five nonfiction books on the Jan. 15-Mar. 24 Fiction tension, rewriting, and submission strategies. The occult, a volume of poetry, and collections of horror, course goal is to draft and revise at least one short Enrollment limited to 15 students. c western, and science fiction stories. Mr. Webb is the Alyx Dellamonica, author of The Town on Blighted Sea, Beginning Fiction Writing story. This course is a prerequisite for students who are winner of both the Fiction Collective and Death Equinox a Year’s Best Science Fiction pick, and Indigo Springs, continuing in the short-fiction sequence. Awards. a Sunburst Award winner. She has published short Courses in this section are recommended for Reg# 371279 fiction in Isaac Asimov’s Science Fiction Magazine, students with some prior writing experience. Fee: $575 WRITING X 411.1 SciFi.Com, and Realms of Fantasy. Instruction is a mix of lecture and workshopping. No refund after 19 Jan. Novel I With the close guidance of the instructor, stu- ❖❖ Classroom 3.0 units WRITING X 413.9E dents share and offer feedback in a supportive 10 mtgs That novel is inside you waiting to emerge, but knowing Speculative Fiction and Magical environment focused on assessing the strengths Tuesday, 7-10pm, Jan. 14-Mar. 17 how and where to start can be daunting. This course Realism and weaknesses of their work. Those new to UCLA: School of Public Affairs Bldg. provides you with weekly assignments, group interac- 3.0 units writing should consider courses in the Basics of Enrollment limited to 20 students. c tion, and instructor feedback to help you explore various Reality is frequently inaccurate. Why not accurately Writing section. Please call an advisor at (310) Ron Darian, author and writer/producer whose fiction methods of writing your first novel while learning the depict that? This workshop is dedicated to kick-starting 825-9415 to determine which course will best has appeared in Fiction International, Inkwell, and The key craft points of plot, structure, characterization, your imagination with the help of visualization and act- help you reach your writing goals. MacGuffin, among many others. Mr. Darian is also a point-of-view, sense of place, and voice. The goal is to ing exercises, Oulipo writing prompts, and other cre- WGA member whose television credits include Frasier, complete the first chapter of your novel by establishing ative techniques. We will take a leap beyond the ENGL XL 137 Mad About You, and 7th Heaven. He was recently an intimacy with your characters as you artfully shape ordinary with examples on how to craft an engaging Creative Writing: Short Story nominated for a Pushcart Prize. their journey and to develop an overall concept to guide alternate reality, flesh out an enthralling non-human 5.0 units Reg# 371280 you through your story. Required for students consider- character, or dream up an unforgettable story line in This workshop covers the key elements of fiction writ- Fee: $575 ing the long-fiction sequence. space. At the end of 10 weeks, you’ll have a better grip ing, including plot, characterization, setting, point-of- No refund after 20 Jan. Reg# 371281 on how to apply creative writing techniques designed view, and various story development techniques, as well ❖❖ Classroom Fee: $575 to help you think outside the box for your own specula- as publication markets. Your goal is to develop three 10 mtgs No refund after 19 Jan. tive fiction story. short stories over the course of the quarter. c Wednesday, 7-10pm, Jan. 15-Mar. 18 ❖❖ Classroom Reg# 371422 Reg# 371278 UCLA Extension DTLA: 261 S. Figueroa St. 10 mtgs Fee: $695 Fee: $745 Enrollment limited to 20 students. c Tuesday, 7-10pm, Jan. 14-Mar. 17 No refund after 20 Jan. No refund after 13 Jan. Ben Loory, MFA, author of the collection, Stories for UCLA: School of Public Affairs Bldg. mmOnline mmOnline Nighttime and Some for the Day (Penguin), winner of Enrollment limited to 20 students. Jan. 15-Mar. 24 Jan. 8-Mar. 24 the 2012 Nobbie Award for Book of the Year. His stories Wally Rudolph, a multi-disciplinary artist and author of Enrollment limited to 15 students. have been published in The New Yorker, The Rattling the novels Four Corners and Mighty, Mighty, among Enrollment limited to 15 students. c c Ploy Pirapokin, MFA, fiction writer whose work is Wendy Oleson, MFA, PhD, fiction writer, poet, and Wall, and The Los Angeles Review of Books, among other works of creative writing. Born in Canada to featured in Tor.com, The Bellingham Review, Fiction essayist whose work has appeared in journals and others, and performed on NPR’s This American Life. Chinese-Jamaican immigrant parents, Mr. Rudolph is International, and more. Ms. Pirapokin has taught as a anthologies including Copper Nickel, Baltimore Review, the former of co-chair of the Asian American Writers creative writing lecturer for San Francisco State Univer- PANK, and The Journal. She was a Van Sickle Fellow WRITING X 413.5E Committee of the WGA and writer-in-residence at the sity and is currently a 2017-2018 Headlands Center for and a recipient of a Washington Square Review Fiction Writing the Horror Novel Annenberg Beach House. the Arts Affiliate Artist. Award, the Elizabeth Bruss Prize, and the storySouth 3.0 units Reg# 371282 Million Writers Award. The horror novel is on one of its upswings, and America Fee: $695 has a huge interest in vampires, zombies, paranormal No refund after 20 Jan. activity, and Lovecraftian cosmic horror. Horror is both mmOnline highbrow (Penguin Classic is re-issuing Thomas Ligot- Jan. 15-Mar. 24 ti’s collections) and low-brow (Tales from the Crypt has Enrollment limited to 15 students. c returned). This course provides aspiring horror writers Jessica Barksdale, MFA, MA, fiction writer, poet, and with a broad understanding of the modern horror scene author of 14 published novels, including The Burning and its roots, and helps you figure out how your vision Hour, Her Daughter’s Eyes, and When You Believe. Her and style fit into it. You discover what you’re good at, short stories, poems, and essays have appeared in learn the pitfalls and obstacles you must avoid to create Compose, Salt Hill Journal, The Coachella Review, the well-paced novel that will sell, and acquire the skills Carve Magazine, Mason’s Road, and So to Speak. and techniques you need to scare the pants off your readers. The course goal is to create an outline for your entire project, craft the perfect beginning for your horror 150 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

WRITING X 462.3 WRITING X 411.2 Character and Conflict Novel II 3.0 units 3.0 units One of the most misunderstood concepts in the craft Armed with your overall concept and first chapter, you of fiction writing is the relationship between character continue to develop your knowledge of craft by writing and conflict. A story can involve a complex character scenes using characters and situations from the pro- with fascinating thoughts, ideas, and interests, but jected novel and workshopping your in-progress work. without a conflict that motivates the character to act, Mini-lectures on the art of the novel, intuitive creative the ensuing story will be stagnant and flat. In this class, process, and conventional vs. non-conventional we explore, through our own writing and through approaches to novel structure also are covered. The published work, how to create richly imagined charac- goal is to complete 50 pages of your novel. ters and how to challenge them with conflicts that Reg# 371286 threaten their hidden, most deeply held desires, forcing Fee: $695 them to act in ways that change the world around them. No refund after 20 Jan. Each week, we read sample fiction to identify craft tools mmOnline Courses in Editing that help us identify and convey the flaws in our char- Jan. 15-Mar. 24 acters, flaws that then help us pick a conflicted situa- Enrollment limited to 15 students. c tion to push our characters into action. Weekly writing Robert Eversz, MFA, author of the novels Zero to the exercises put theory into practice and help you discover Bone, Digging James Dean, Burning Garbo, Killing what works (and doesn’t) in your own writing Paparazzi, Gypsy Hearts, and Shooting Elvis. Mr. Ever- and Publishing practice. sz’s novels have been translated into 15 languages. He Reg# 371283 has been the finalist judge for the AWP Award Series in Fee: $695 the Novel. No refund after 20 Jan. Reg# 371565 Whether you’re a writer or are considering a career in publishing as an editor m mOnline Fee: $665 or literary agent, it’s important to know how a project goes from finished Jan. 15-Mar. 24 No refund after 21 Jan. manuscript to published book. Learn the roles of editors, as well as essential Enrollment limited to 15 students. c ❖❖ Classroom editing, proofreading, and fact-checking skills with these courses in editing Colette Sartor, MFA, fiction writer, author of the story 10 mtgs collection Once Removed and Other Stories and winner Thursday, 7-10pm, Jan. 16-Mar. 19 and publishing. of the 2018 Flannery O’Connor Award for Short Fiction. UCLA: School of Public Affairs Bldg. Ms. Sartor’s work has appeared in Kenyon Review Enrollment limited to 15 students. c The Editorial Toolbox m Developmental Editing Online, Carve Magazine, Slice Magazine, Chicago Chris L. Terry, MFA, author of the novels Black Card ­Tribune, Colorado Review, Prairie Schooner, and (Catapult, 2019) and Zero Fade (Curbside Splendor, Instructor: Instructor: elsewhere. 2013), which was named a Best Book of the Year by Tobi Harper, deputy director/marketing Seth Fischer, editor, Rare Bird Lit, Still- Slate and Kirkus Reviews. Mr. Terry’s short work has director at Red Hen Press; editor and house Press, and individual clients who appeared in PANK, Razorcake, Very Smart Brothas, and founder of Quill. went on to publish at Farrar, Straus, and Intermediate Fiction Writing more. He has taught for PEN America, Writing Work- Giroux. These courses are designed for students who shops LA, and Storycatchers Theatre. Editorial Management I: Acquisition to have fulfilled the prerequisites stated in each Publication m Writer Friendly Careers description. Instruction includes lectures as WRITING X 411.3 appropriate, but the focus is on workshopping. Novel III Instructor: Instructors: Students continue to share and offer feedback in 3.0 units Julia Callahan, acquisitions editor and Julia Callahan, Jeanne De Vita, Katie a supportive environment. Please call an advisor For those with a minimum of 50 pages of a novel-in- director of sales and marketing for Dunham, Seth Fischer, Tobi Harper, Eve at (310) 825-9415 to determine which course will progress, this workshop guides you to generate at least best help you reach your writing goals. 50 new pages, as well as learn essential self-editing Rare Bird Books and fiction editor of Porinchak techniques with the instructor and peers reviewing each The Rattling Wall. Courses begin on page 154. WRITING X 412.2 participant’s project in detail. Refinements of character, Copyediting I m Short Story II structure, emotional content, and the development of 3.0 units the writer’s voice also are explored. The goal is to Instructor: Focusing on close textual analysis and intensive writing produce a substantial portion of your novel. Jeanne De Vita, developmental editor practice, you create two short stories and revise one in Reg# 371288 for Waterhouse Press and award-winning this 10-week workshop. Weekly lectures on technique, Fee: $665 analysis of published stories, and in-depth instructor No refund after 16 Jan. author. and peer critique develop and deepen your understand- ❖❖ Classroom ing of the art and craft of short story writing. Strategies 10 mtgs for approaching the marketplace also are discussed. Saturday, 1-4pm, Jan. 11-Mar. 14 Reg# 371285 UCLA Extension 1010 Westwood: Fee: $665 1010 Westwood Blvd. No refund after 19 Jan. Enrollment limited to 15 students. c ❖❖ Classroom Francesca Lia Block, author of Love in the Time of 10 mtgs Global Warming, The Elementals, Dangerous Angels: Tuesday, 7-10pm, Jan. 14-Mar. 17 The Weetzie Bat Books, Necklace of Kisses, The Hanged The Writers’ Program UCLA: School of Public Affairs Bldg. Man, Pretty Dead, The Frenzy, and Wood Nymph Seeks Enrollment limited to 15 students. Centaur: A Mythological Dating Guide. Merrill Feitell, MFA, author of the award-winning Here Reg# 371287 Announces Our New Beneath Low-Flying Planes. She was on the faculty at Fee: $695 University of Maryland’s MFA program and taught writ- No refund after 20 Jan. ing at Columbia University and the Pratt Institute. Ms. mmOnline Progress Party Feitell’s fiction has appeared in Best New American Jan. 15-Mar. 24 Voices among many others. Enrollment limited to 15 students. c & Reg# 371284 Lynn Hightower, nationally and internationally best- Reading Series Fee: $695 selling novelist with 14 books in print. Ms. Hightower’s No refund after 20 Jan. books have appeared on The New York Times “Notable” November 16, 2pm; UCLA Extension 1010 Westwood Center mmOnline list, The London Times best seller list, and have been Jan. 15-Mar. 24 selections of The Literary Guild and The Mystery Guild. She also is a recipient of the Shamus Award. Enrollment limited to 15 students. c & Adam Prince, MFA, PhD, fiction writer whose short It can take a long time to write those fabled words “THE END” on your manuscript, so we story collection, The Beautiful Wishes of Ugly Men, was WRITING X 461.9E decided to start celebrating the journey and not just the destination. Join us as students published by Black Lawrence Press. His work has Intensive Revision and instructors read from their works-in-progress at this informal afternoon event. appeared in The Southern Review and Missouri Review, 3.0 units among others. He is a Pushcart Prize nominee and a After all the work of getting through a first draft, little Featuring: Tickner Fellow at the Gilman School in Baltimore. seems so barbarian as the slashing and burning of entire characters and scenes—but making such vulgar Cole Kazdin, instructor Claire Lim, Kirkwood Literary Prize winner literary sacrifices can enable the writer to unearth the Linda Abrams, Allegra Johnson Writing Kevin Yoder, Master Class in Novel heart of conflict and character, to find focus in each scene, and to harness the best story s/he can offer. In Prize winner Writing­ alumnus this workshop, participants will undertake two rigorous Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 151 revisions, sticking with a draft all the way through to its best potential. By considering various elements of Advanced Fiction Writing storytelling and developing dexterity with an assortment Advanced-level courses are primarily workshop- The Writers’ Program of narrative tools and techniques, students should finish driven and are designed for students who are the class with a story that’s really on course to being well into their projects. Admission is by submis- done. sion only and the selection process is competi- Reg# 371290 tive. It is recommended that students take Fee: $695 intermediate-level courses prior to submitting Announces Season 2 No refund after 20 Jan. their work. For instructions on submitting work, m mOnline contact the Writers’ Program at (310) 825-9415 Jan. 15-Mar. 24 or go to writers.uclaextension.edu/continuing- Enrollment limited to 15 students. c students. The submission deadline for winter is Tantra Bensko, MFA, fiction writer, poet, and award- Dec. 2 at 9am (PT). Visitors are not permitted in Debut of The Write Process winning author with hundreds of publications including advanced-level courses. four chapbooks, one novella, and two full-length fiction books. A graduate of the Iowa Writers’ Workshop, Ms. Submission Guidelines for Advanced Fiction Writ- A Biweekly Podcast in Which a Writer Talks About Creating a Bensko has a psychological suspense series, The ing Courses Agents of the Nevermind. Please note that there are no pre-approvals. To be Single Work from Concept to Completion. eligible for an advanced creative writing course, all WRITING X 413.6E students must submit one document (double-spaced, Season 2 includes: Write a Novel in 10 Weeks 12-point font, 1-inch margins on all sides) containing Shauna Barbosa, Cape Verdean Blues 3.0 units a 10-page writing sample; a synopsis of up to one page In this fast-paced, fun, and exhilarating novel writing for any longer submitted works (novels); a personal Stuart Beattie, Danger Close: The Battle course, you do the unthinkable: write a novel in 10 statement of one paragraph outlining what the student of Long Tan weeks from start to finish. Tapping into the rich material hopes to gain from the class; and a list of previous Natashia Deón, Grace inside your subconscious, you do mini exercises in class courses completed in the Writers’ Program or other that form the plot, characters, setting, genre, and programs with instructors (when known). Monica Holloway, Driving with structure of your very own work of fiction. At home you Dead People write three pages a day to complete your manuscript. WRITING X 412.3 Owen Husney, Famous People Who’ve This is a class for beginners and seasoned writers alike. Short Story III Met Me All that is required is discipline, determination, and 3.0 units commitment. The short story, one of the most challenging of all liter- Henry Lien, Peasprout Chen: Battle Reg# 371291 ary forms, requires the precision and imagistic intensity of Champions Fee: $665 of poetry combined with novelistic elements of struc- Hollie Overton, Tell Me a Story No refund after 20 Jan. ture, setting, and characterization. This workshop helps ❖❖ Classroom you to realize your fictional intentions through detailed Sheryl Recinos, Hindsight 10 mtgs written critiques and to prepare your stories for publica- Colette Sartor, Once Removed and Wednesday, 7-10pm, Jan. 15-Mar. 18 tion in targeted markets. The course goal is to complete Other Stories UCLA Extension DTLA: 261 S. Figueroa St. two new stories and one revision. April Shih, You’re the Worst Enrollment limited to 15 students. Reg# 371293 Tempany Deckert, author who has published 18 Fee: $755 Barbara Stepansky, Flint novels for middle grade and young adult readers includ- No refund after 9 Jan. April Shih Zimran Jacob, The Punisher ing It’s Yr Life, The Shooting Stars, and the series Kids ❖❖ Classroom Inc./Radio Rebels and Kids Inc./Fashion Police for 10 mtgs Macmillan. Ms. Deckert is also an actress and motiva- Thursday, 7-10pm, Jan. 16-Mar. 19 stories onstage all across the country, on NPR, and in tional speaker. UCLA: Bunche Hall Creative Nonfiction the book All These Wonders. Enrollment limited to 12 students. Visitors not permit- WRITING X 413.1E ted. $100 nonrefundable. Not eligible for any WRITING X 424.21E Story Structure for the Novel discounts. Beginning Creative Nonfiction Storytelling for Social Justice 3.0 units Paul Mandelbaum, MFA, whose short stories have Writing 3.0 units Many aspiring novelists write with the hope that inspira- appeared in The Los Angeles Review of Books, Glimmer Well-told, new narratives can change the world. Living tion will come. The result is time wasted on a flabby Train, The Southern Review, and others. Mr. Mandel- Courses in this section are recommended for in a time of rising movements such as Black Lives novel with no clear shape and a sagging pace. On the baum has edited two anthologies and is the author of students with some prior writing experience. Matter, MeToo, DACA/refugee and immigrant rights, other hand, story structure gives your novel a skeleton; two novels-in-stories. He is a recipient of the UCLA Instruction is a mix of lecture and workshopping. LGBTQ rights, and more, students are encouraged to it forms the bones of your story. And just as adding Extension Outstanding Instructor Award in Creative With the close guidance of the instructor, stu- uncover stories that are not included in our history flesh and clothing to a body makes that body more Writing. dents share and offer feedback in a supportive textbooks. Through workshops, students gain access to unique, so does any creative addition the writer makes environment focused on assessing the strengths pathways to explore personal history, family narratives, to his or her basic structure. This course teaches you WRITING X 411.4 and weaknesses of their work. Those new to and stories amidst their communities. Students read how to build that skeleton, from a solid premise line to Novel IV writing should consider courses in the Basics of and produce compelling creative nonfiction—memoir, building the moral argument of your novel. You ensure 3.0 units Writing section. Please call an advisor at (310) essays, literary journalism, blogging, audio/video that your novel has what story structure guru John For students with at least 100 pages of a novel, this 825-9415 to determine which course will best recording, live performance, and more—to share with Truby calls the “seven key steps,” and you learn how advanced workshop focuses on elements of technique help you reach your writing goals. larger audiences. Integral to the creation of new work reversals and reveals, as well as character wants and and vision necessary for a work to be considered is revision, peer feedback, and literary work that serves needs, can drive your story to a satisfying conclusion. complete. You receive intensive instructor and peer WRITING 721.2E as models. By the end of the course, students have Exercises focus on structural elements such as char- critiques of manuscript chapters and their relation to Storytelling Starter Kit begun a narrative in a format of their choice that they acter ghosts, story world, and more; by the end of the the overall work, including a review as needed of the In this one-day workshop, we find the stories that only will develop into a completed project in order to share course, you have in-hand a six-page synopsis that effective use of voice, tone, mood, imagery, and meta- you can tell. Through prompts and playful writing with the larger community. works. In addition, for most weeks, you submit up to phor. A major goal of this course is to give you the exercises, you learn how to generate unique and grip- Reg# 371296 750 words of writing that relate to a particular struc- self-editing skills to polish and revise your entire novel ping story ideas, find your first line, and learn simple Fee: $695 tural element. within and beyond the course itself. techniques for structuring a personal story for perfor- No refund after 20 Jan. Reg# 371292 Reg# 371294 mance. By the end of the workshop, you have the mmOnline Fee: $695 Fee: $755 beginnings of an unforgettable, personal story that you Jan. 15-Mar. 24 No refund after 20 Jan. No refund after 9 Jan. can tell in one of the city’s many storytelling shows, like Enrollment limited to 15 students. m c mOnline ❖❖ Classroom The Moth Story Slam, and many other ideas in your Sehba Sarwar, MA, author of the novel Black Wings. Jan. 15-Mar. 24 10 mtgs back pocket to continue to develop into full pieces. Ms. Sarwar’s writings have appeared in New York Times Enrollment limited to 15 students. c & Thursday, 7-10pm, Jan. 16-Mar. 19 Reg# 371295 Sunday Magazine, Asia: Magazine of Asian Literature, Caroline Leavitt, New York Times best-selling author UCLA: School of Public Affairs Bldg. Fee: $79 Callaloo, and elsewhere. She has taught writing work- who has published 11 novels, including her latest, Cruel Enrollment limited to 12 students.Visitors not permit- No refund after 20 Mar. shops at University of Houston and through Beautiful World. A critic for The San Francisco Chronicle ted. $100 nonrefundable. Not eligible for any ❖❖ Classroom nonprofits. and People, Ms. Leavitt is a recipient of the UCLA discounts. c 1 mtg Extension Outstanding Instructor Award in Creative Adam McOmber, MFA, author of My House Gathers Saturday, 10am-1pm, Mar. 21 Writing. Desires: Stories, The White Forest: A Novel, and This UCLA: Dodd Hall New & Poisonous Air. His stories have appeared in Enrollment limited to 100 students. Conjunctions, Kenyon Review, and Fairy Tale Review. Cole Kazdin, MS, writer, performer, and Emmy-winning television journalist. Ms. Kazdin is a regular contributor to VICE and has written for The New York Times. She is a three-time Moth GrandSLAM champion, and tells 152 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

WRITING X 424.2E WRITING X 424.18E WRITING X 423.1 WRITING X 423.2 Creative Alchemy: Finding and Introduction to Literary Journalism Memoir I Memoir II Writing Life Stories You Were Meant 3.0 units 3.0 units 3.0 units to Tell Literary journalism is nonfiction prose that transcends A memoir is a book-length narrative that is told from Designed for the serious writer committed to participat- 3.0 units “who, what, where and when” to give a more detailed, the writer’s point of view and captures a meaningful ing in a structured writing regimen as well as engaging This course is for anyone who has a story from “real richer, more vivid picture of real events. It combines an slice of the writer’s life. If you have a story to tell and in ongoing critiques and craft discussions, this course life” that needs to be told. Sometimes your story is immersive approach to reporting with the aims and would like to figure out how best to tell it, this course guides you to examine key issues in your work, create about a person, place, thing, or some concealed part techniques of fiction. Although this type of writing has helps you get started. In-class writing exercises help an involving storyline out of your life experience, and of yourself; a remembered time or event; or even roots in antiquity (i.e. Thucydides’s The Peloponnesian you identify significant moments from your life, decide cast yourself as a compelling character readers want something that will happen as you give account to its War), contemporary practitioners include Tom Wolfe, on a workable structure for telling your story, and to follow. You also develop the self-editing skills you unfolding. Over the span of this course, you identify this Joan Didion, John McPhee, and Gay Talese. Today, liter- determine what exactly your story is about. You also need to polish and revise your material at a level element of your story’s core fascination and acquire the ary journalism appears in periodicals such as The New focus on the habits and tools you need to establish and appropriate to submit to publishers. Includes discussion skills to tell it, including researching and interviewing Yorker, The Atlantic Monthly, Esquire and Harper’s maintain a writing practice and read excerpts from a of current marketplace. The course goal is to complete techniques, cultivating your own unique writing voice, Magazine, as well as in the magazines or literary sup- range of memoirs for inspiration and guidance. By the 50 well-crafted pages of your project. and constructing your story into a combination of epi- plements of many major newspapers. By the end of the end of the course, you have an outline and a draft of Reg# 371305 sodes that advance and present it to best dramatic and course, you have an understanding of the basic tech- one to two chapters. Fee: $695 imaginative effect. Finally, you investigate possible niques for reporting and writing such journalism and at Reg# 371301 No refund after 20 Jan. venues where each story might most effectively be least one project started. Fee: $575 mmOnline presented. Reg# 371298 No refund after 21 Jan. Jan. 15-Mar. 24 Reg# 371297 Fee: $695 ❖❖ Classroom Enrollment limited to 15 students. c & Fee: $575 No refund after 20 Jan. 10 mtgs Liz Stephens, PhD, author of the memoir, The Days No refund after 20 Jan. mmOnline Thursday, 7-10pm, Jan. 16-Mar. 19 Are Gods. Ms. Stephens’ essays appear in Brief ❖❖ Classroom Jan. 15-Mar. 24 UCLA: School of Public Affairs Bldg. Encounters: An Anthology of Short Nonfiction and Dirt: 10 mtgs Enrollment limited to 15 students. c & Enrollment limited to 20 students. c & An Anthology. She has served as managing editor and Wednesday, 7-10pm, Jan. 15-Mar. 18 Robert Anasi, PhD, author of Bohemia: Scenes from Eileen Cronin, PhD, memoirist and psychologist whose contributor to Brevity: A Journal of Concise Nonfiction. UCLA: School of Public Affairs Bldg. the Life of Williamsburg, Brooklyn. Mr. Anasi’s works book Mermaid, translated in 3 languages, was one of have appeared in the New York Times, Salon, Virginia O Magazine ’s Best Memoirs of the Year. She’s received Enrollment limited to 20 students. c Harry Youtt, fiction writer and Pushcart Prize-nomi- Quarterly Review, and Los Angeles Times, among oth- a Vermont Studio Center Fellowship and the Washington Advanced Creative Nonfiction nated poet whose recent collections include I’ll Always ers. He has received a New York Foundation for the Arts Writing Prize, and was a finalist for Pirate’s Alley Be from Lorain and Outbound for Elsewhere. Mr. Youtt Fellowship and a Schaeffer Fellowship. Faulkner Competition. Writing is a co-recipient of the UCLA Extension Outstanding Advanced-level courses are primarily workshop- Distinguished Instructor Award and the UCLA Extension WRITING X 421.1 driven and are designed for students who are Instructor Award in Creative Writing. Creative Nonfiction I Intermediate Creative well into their projects. Admission is by submis- Judith Prager, PhD, fiction and nonfiction writer whose 3.0 units Nonfiction Writing sion only and the selection process is competi- works include The Newman Factor, Verbal First Aid and This course explores the unlimited possibilities of cre- tive. It is recommended that students take The Worst Is Over: What to Say When Every Moment ative nonfiction, which embraces forms of creative These courses are designed for students who intermediate-level courses prior to submitting Counts. She is a co-recipient of the UCLA Extension writing such as personal essay, memoir, profiles, and have fulfilled the prerequisites stated in each their work. For instructions on submitting work, Distinguished Instructor Award and the UCLA Extension more. Working with the same techniques as fiction, description. Instruction includes lectures as contact the Writers’ Program at (310) 825-9415 Outstanding Instructor Award in Creative Writing. including artful language choices, dialogue, character appropriate, but the focus is on workshopping. or go to writers.uclaextension.edu/continuing- development, structure, and plot, you are guided to Students continue to share and offer feedback in students. The submission deadline for winter is WRITING X 424.3E transform factual events and experiences into a com- a supportive environment. Please call an advisor Dec. 2 at 9am (PT). Visitors are not permitted in Writing Out of Your Life plete, imaginative narrative. This course includes sev- at (310) 825-9415 to determine which course will advanced-level courses. 3.0 units eral readings from a variety of nonfiction authors. The best help you reach your writing goals. course goal is to produce one complete and revised Submission Guidelines for Advanced Creative Writing out of your life can be a process of self-revela- Nonfiction Writing Courses tion, a way of discerning the pattern of your life even narrative essay, as well as additional material to develop WRITING X 421.2 while you’re in the midst of living it. Whether you want further. Creative Nonfiction II Please note that there are no pre-approvals. To be to write a memoir or transmute your life into fiction or Reg# 371299 3.0 units eligible for an advanced creative writing course, all poetry, this workshop helps you mine the rich vein of Fee: $575 Designed for those who have already begun to explore students must submit one document (double-spaced, material that is yours alone. The focus of this workshop No refund after 19 Jan. memoir or other narrative nonfiction genres, this work- 12-point font, 1-inch margins on all sides) containing is on production and encouragement, rather than edit- ❖❖ Classroom shop guides you to take your skills to the next level by a 10-page writing sample; a synopsis of up to one page ing and critiquing. Using a combination of weekly 10 mtgs focusing on a collection of essays, a single project, or for any longer submitted works (novels); a personal prompts and assignments, instructor feedback, and Tuesday, 10am-1pm, Jan. 14-Mar. 17 other types of nonfiction prose; works-in-progress are statement of one paragraph outlining what the student group interaction, you write a series of autobiographical UCLA Extension 1010 Westwood: welcome. Every week, you read several short, stylisti- hopes to gain from the class; and a list of previous narratives. For both beginners and seasoned writers 1010 Westwood Blvd. cally adventurous pieces to expand your repertoire and courses completed in the Writers’ Program or other who want to get in touch with their personal voice. Enrollment limited to 20 students. c post a new installment of your own project for feedback programs, with instructors (when known). Reg# 371302 Barbara Abercrombie, author of 15 books, including from your instructor and peers. The goal is to create Fee: $695 Courage and Craft: Writing Your Life into Story; A Year two new essay-length works of creative nonfiction and WRITING X 421.3 No refund after 20 Jan. of Writing Dangerously; and Kicking in the Wall. Ms. polish your skills for publication. Creative Nonfiction III mmOnline Abercrombie is a recipient of the UCLA Extension Dis- Reg# 371303 3.0 units Jan. 15-Mar. 24 tinguished Instructor Award and the UCLA Extension Fee: $665 Designed for serious writers who seek to refine their Outstanding Instructor Award in Creative Writing. No refund after 20 Jan. creative nonfiction manuscripts—including memoirs and Enrollment limited to 15 students. c Lynn Lauber, fiction writer, essayist, and ghostwriter ❖❖ Classroom personal essay collections—into polished works, this who has published the autobiographical fiction books WRITING X 422.1 10 mtgs intensive workshop helps you polish your writing and White Girls and 21 Sugar Street, and a memoir/writing Personal Essay I Wednesday, 6:30-9:30pm, Jan. 15-Mar. 18 find your narrative’s energy and unique voice. You also book, Listen to Me: Writing Life into Meaning, all with 3.0 units UCLA Extension DTLA: 261 S. Figueroa St. develop and perfect self-editing techniques as well as explore the current market. The course goal is to have W. W. Norton. Ms. Lauber’s work has appeared in The “Personal Essay” is a broad term that encompasses Enrollment limited to 15 students. c New York Times. humorous essays, opinion pieces, and mini-memoirs, Alison Singh Gee, MA, nonfiction writer who has writ- two chapters and a book proposal or two short essays but which always details the writer’s journey through a ten for Marie Claire, InStyle, International Herald Tri- ready to submit to publishers, as well as increase specific experience. This workshop teaches aspiring bune, and the Los Angeles Times. Ms. Gee was a staff mastery over this artistic form. personal essayists how to be a compelling first-person writer for People magazine and her memoir, Where the Reg# 371306 narrator and employ craft elements such as theme, Peacocks Sing, was named a National Geographic Fee: $785 character development, voice, pacing, scene-setting, Traveler Book of the Month. No refund after 8 Jan. and exposition to tell their stories. The goal is to com- Reg# 371304 mmOnline plete at least one personal essay (600-2,500 words) Fee: $695 Jan. 15-Mar. 24 and develop material for future essays. No refund after 20 Jan. Enrollment limited to 12 students. Visitors not permit- Reg# 371300 mmOnline ted. $100 nonrefundable. Not eligible for any m ONLINE COURSE, page 5. Fee: $695 Jan. 15-Mar. 24 discounts. c No refund after 20 Jan. Gordon Grice, MFA, nonfiction writer who is the author Enrollment limited to 15 students. c g HYBRID COURSE, page 5. mmOnline Mieke Eerkens, MFA, author of All Ships Follow Me: A of four books including The Red Hourglass: Lives of the Jan. 15-Mar. 24 Family’s Inheritance of War, forthcoming from Picador. Predators and Deadly Kingdom: The Book of Dangerous WEB-ENHANCED COURSE, page 5. Enrollment limited to 15 students. c Ms. Eerkens’ works have appeared in publications such Animals. Mr. Grice’s shorter pieces have appeared in c Victoria Zackheim, MA, editor of six anthologies of as Creative Nonfiction and Best Travel Writing 2011, The New Yorker, Harper’s, GQ, and others. v ON-GROUND COURSE, page 5. personal essays including The Other Woman, For among others. She has received distinguished fellow- Keeps, The Face in the Mirror, and Faith. Her documen- ships at VCCA and the James Merrill House. & TEXTBOOK REQUIRED tary, Where Birds Never Sang: The Ravensbruck and Sachsenhausen Concentration Camps, aired nationwide C UC CREDIT, page 6. on PBS. She is a San Francisco Library Laureate. Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 153

Reg# 371074 Fee: $575 Writing for No refund after 20 Jan. ❖❖ Classroom New Creative Writing Young Readers 10 mtgs Wednesday, 7-10pm, Jan. 15-Mar. 18 Writing Picture Books UCLA: Haines Hall Enrollment limited to 20 students. Courses for Winter Laurel van der Linde, author of several nonfiction WRITING 741.1E books for children including So, You Want to be a Writing a Picture Book and Getting it Dancer? and The Pony Express, as well as articles Published published in Equus and Horse Illustrated. Ms. van der Translation I How to Create Original Middle Grade You have the dream—I’ve always wanted to write a Linde has produced and/or directed many audiobooks Instructor: Elisa Wouk Almino Concepts: Two Weekend Workshop children’s picture book. But... how? This inspiring class for Hachette and others. offers you practical tools to help you realize that dream. Page 148. Instructor: Henry Lien It includes writing exercises, examples of current and NEW Page 153. classic picture books (and why they are classics), WRITING X 444.1N Structuring Your Story behind-the-scenes stories from award-winning writers, How to Create Original Middle Grade Instructor: Jeanne De Vita The Art of Craft, the Secrets of practical tips on the business of writing for children and Revision—Toward Publication how to make inroads in this field. By the end of the day Concepts: Two Weekend Intensive Page 146. you’ll have effective tools to guide you to your next step 3.0 units Instructor: Suzanne Lummis in this vibrant field. Original concepts are some of the rarest and most Marketing and PR for Writers and Agents powerful tools in a middle grade novel writer’s arsenal. Page 153. Reg# 371058 This workshop guides middle grade writers through Instructor: Katie Dunham Fee: $159 concept generation, analysis, and development to cre- Writer Friendly Careers No refund after 6 Mar. Page 146. ate concepts that are unique and personal, and dif- ❖❖ Classroom Instructors: ferentiate themselves. The workshop will begin with an 1 mtg Inspiring Our Muse: Nurturing the introduction to some of the defining features of the Julia Callahan, Jeanne De Vita, Katie Saturday, 9am-5pm, Mar. 7 middle grade genre. Workshop exercises, which con- Writer Within Dunham, Seth Fischer, Tobi Harper, Eve UCLA Extension 1010 Westwood: stitute the majority of the class time, will include 1010 Westwood Blvd. Instructor: Dan Jaffe Porinchak combining ideas to form unique hybrids; genre chal- Enrollment limited. lenge exercises such as creating fantasy worlds that Page 148. Page 154. April Halprin Wayland, author of seven picture books, contain no magic; surrealist parlor games; exercises m including New Year at the Pier: A Rosh Hashanah Story, and rituals to promote brainstorming; and in-class The Art of Creative Research named Best Jewish Picture Book. She won the Myra workshopping with analysis by the instructor and fellow Instructor: Shawna Kenney Cohn Livingston Award for Girl Coming In for a Landing: students. Students will leave the workshop with at least MM A Novel in Poems, and is a recipient of the UCLA Exten- one polished concept to begin developing into a middle Page 148. Offered online. sion Outstanding Instructor Award in Creative Writing. grade novel. Barney Saltzberg, multiple-award-winning writer and Reg# 371409 illustrator of more than 30 books for children, including Fee: $665 Crazy Hair Day, adapted into an animated DVD by No refund after 31 Jan. Scholastic Books; and Cornelius P. Mud, Are You Ready ❖❖ Classroom for Baby?. Mr. Saltzberg also has recorded four albums 4 mtgs for children and his music has been used on PBS’s “ Many of my workshops have given Saturday, Sunday, 9am-5pm, Feb. 1 & 2; Arthur. Mar. 7 & 8 rise to poems that went on to be Alexis O’Neill, PhD, author of the picture books The UCLA Extension 1010 Westwood: ­published, sometimes published Recess Queen, a Los Angeles Times bestseller and 1010 Westwood Blvd. and re-published, but equally as children’s choice book in 12 states; Loud Emily; Estela’s Enrollment limited to 15 students. Early enrollment Swap (Lee & Low); and The Kite That Bridged Two advised. important, I’ve seen friendships form Nations. Dr. O’Neill’s work also has been published in Henry Lien, JD, UCLA Law. Mr. Lien teaches law in the Cobblestone, Calliope, Faces, Odyssey, Spider, and there—friendships that have endured Architecture-Interior Design Department and was Cricket. awarded Outstanding Instructor of the Year. He prac- for years and are still going strong.” ticed as an attorney, served as the Glass Garage Gallery ——Suzanne Lummis owner and as president of the West Hollywood Fine Art Writing for Kids and Middle Gallery Association, and currently works as a private art Grade Readers dealer. Mr. Lien also teaches for the Writers’ Program. His Peasprout Chen middle grade fantasy series has For advisement on courses or to learn about our certificates call (310) 825-9415 or WRITING X 446.2E received New York Times acclaim and starred reviews email [email protected]. Introduction to Writing for Young from Publishers Weekly, Kirkus, and Booklist. Readers 3.0 units Reg# 371075 Reg# 371060 If you want to write for kids, you need to think like a kid Writing for Young Adults Fee: $695 Fee: $250 and enjoy the process of returning to the imaginative, No refund after 20 Jan. No refund after 17 Jan. m possibility-filled world of childhood. This course intro- WRITING X 445.2 mOnline ❖❖ Classroom duces you to all major categories of writing for young Young Adult Novel II Jan. 15-Mar. 24 1 mtg people, including concept books, picture books, begin- 3.0 units Enrollment limited to 15 students. c Saturday, 10am-6pm, Jan. 18 ning readers, chapter books, middle grade novels, Readers of young adult novels demand immediate action, Kim Askew, MA, co-author of the Twisted Lit novels, UCLA Extension 1010 Westwood: young adult (YA) novels, and nonfiction for all age fascinating characters, interesting situations, realistic contemporary YA adaptations of Shakespeare plays, and 1010 Westwood Blvd. ranges. You learn the basic storytelling principles of dialogue, and unique, yet somehow familiar settings—all the screenplay for a forthcoming Hallmark Channel Enrollment limited to 25 students. story structure, plot, character development, and dia- at the same time! Crafting all of those elements, while movie. Ms. Askew’s work has appeared in The Wall Lilliam Rivera, Pushcart Prize-winning author whose logue as it applies to each genre, and discover your also developing a distinctive voice, can be quite tricky. Street Journal, Elle, the anthology The May Queen, and first novel, The Education of Margot Sanchez was own niche in world of children’s publishing. You also This course helps take your young adult novel—either a elsewhere. acquired by Simon & Schuster in a two-book deal. Her learn how to tailor your work to the psychological and work-in-progress or a completed draft—to the next level work has appeared in Latina, Los Angeles Times, Tin emotional development, reading abilities, and interests by exploring the nuance of the young adult novel; diving WRITING 745.1E House, Bellevue Literary Review, The Rumpus, and Los of each age group. The goal is to complete a draft of a deeper into elements like character, voice, plot, dialogue, Writing the Young Adult Novel: One Angeles Review of Books, among others. manuscript for a picture book or a sample chapter and and description; and by supportively critiquing each Day Workshop chapter outline for older readers. Query letters, market- other’s work. By the end, you will have completed From The Outsiders to The Hunger Games, young adult ing, and resources for children’s book writers also are approximately 30 to 50 pages of a young adult novel and fiction (YA) is an exciting genre that continues to pro- covered in detail. have a workable plan for finishing the draft. duce compelling work. In this course, students read excerpts from YA novels to explore elements of plot, kkk kkk language, and setting. Through the use of generative writing exercises, students learn how to use character studies, write compelling dialogue, and avoid the pitfall of talking down to readers. Students leave with a solid understanding of the genre and a strong draft of the first chapter of their YA novel. kkk 154 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

WRITING X 431.1 Reg# 371414 Poetry I Fee: $695 Poetry 3.0 units Editing and Publishing No refund after 20 Jan. These workshops are tailored to students with What is a poem and how does it differ from prose? These courses are designed for writers who want mmOnline specific levels of experience in poetry writing. What sources can you, the beginning poet, look to for to improve their editing skills or develop compe- Jan. 15-Mar. 24 Please review course descriptions carefully or ideas and inspiration? How can you encourage a raw tencies toward a career in editing and publishing. Enrollment limited to 15 students. call an advisor at (310) 825-9415 to determine unfinished poem to become a thing of power and Some courses help advanced writing students Julia Callahan, for credits see page 154. which course will best help you reach your writ- beauty? This course provides a series of enjoyable and prepare and submit their work for publication. ing goals. illuminating exercises to expand your imagination and Please call an advisor at (310) 825-9415 to deter- WRITING X 451.3 introduce you to the complex issues of craft and revi- mine which course will best help you reach your The Editorial Toolbox NEW sion in an accessible way. Of value to those who have writing goals. 3.0 units WRITING X 432.12E never written as well as those with some experience To be successful, editors draw from a broad base of The Art of Craft, the Secrets of who seek new direction and feedback. NEW skills while taking the entire publishing process into Revision—Toward Publication Reg# 371077 WRITING 761.6E account. They are avid, active readers in their own right 3.0 units Fee: $695 Writer Friendly Careers who understand the way the publishing market works. This workshop engages students in the processes of both No refund after 20 Jan. The world of Editing and Publishing is filled with count- Beyond that, they also understand the specialized creation and revision with the goal of evolving drafts into mmOnline less professional avenues for those with an interest or technological tools in use today, are strong proofread- striking, accomplished poems. Imagery, pacing, line- Jan. 15-Mar. 24 background in writing. In fact, having a passion for ers, understand how to identify and check facts, and communicate clearly and concisely with other depart- breaks, compression and expansion, and appearance of Enrollment limited to 15 students. c writing can be the ideal foundation for roles such as the poem on the page are explored, together with the Rosebud Ben-Oni, MFA, author of the poetry collection copyeditor, literary agent, and beyond. In this three-hour ments in order to set a manuscript up for success element of discovery. The sensibility and criteria of vari- SOLECISM. Ms. Ben-Oni’s poems appear in Arts & course, a variety of experts in Editing and Publishing through production, marketing, and media outreach. By ous editors, local and national, is discussed. Appropriate Letters, American Poetry Review, and POETRY, and she provide writers of all backgrounds and experience levels the end of the course, students understand how these for those with some formal training. writes weekly for The Kenyon Review blog. She was a with practical advice on identifying and pursuing tools help editors meet the demands of their profession and thrive in the workplace. Reg# 371545 Rackham Merit Fellow, a Horace Goldsmith Scholar, and careers that optimize their writing skills. Fee: $575 a CantoMundo Poetry Fellow. Reg# 371415 Reg# 371179 No refund after 20 Jan. Fee: $50 Fee: $695 ❖ WRITING X 432.3E No refund after 7 Feb. No refund after 20 Jan. ❖ Classroom m 10 mtgs Cuento Poems ❖❖ Classroom mOnline Wednesday, 7-10pm, Jan. 15-Mar. 18 2.0 units 1 mtg Jan. 15-Mar. 24 UCLA: Kaplan Hall Cuento Poems are short, concise narrative poems that Saturday, 10am-1pm, Feb. 8 Enrollment limited to 15 students. c Enrollment limited. Early enrollment advised. resonate. They focus on one brief experience or two UCLA Extension Gayley Center: Tobi Harper, for credits see page 154. Suzanne Lummis, poet, author of Open 24 Hours and brief experiences that speak to each other. Whether you 1145 Gayley Ave. editor of Wide Awake: Poets of Los Angeles and write poetry or creative prose, this course will help you Seth Fischer, MFA, editor for Rare Bird Lit, Stillhouse WRITING X 451.2 Beyond. Ms. Lummis’s work has appeared in The New vivify and tighten your work. You learn the basics of Press, and individual clients who went on to publish at Developmental Editing Yorker, Ploughshares, and The Hudson Review among narrative poetry, study and discuss poems, and discover Farrar, Straus, and Giroux. Mr. Fischer was a contribut- 3.0 units others. She is a recipient of the UCLA Extension Out- how to write resonant poems. Each week, you generate ing editor at The Rumpus. His writing has appeared in An editor’s job includes not only improving the mechan- standing Instructor Award in Creative Writing. poems and workshop your drafts in a safe and sup- Guernica, Best Sex Writing, and was listed as notable ics of writing, but identifying places where content isn’t portive environment. By the end of the course, you have in The Best American Essays. working or needs revision and development. This skill ENGL XL 136 several completed poems and a better understanding Eve Porinchak, agent with Jill Corcoran Literary is also invaluable for writers, who can use it to shape Creative Writing: Poetry of Cuento Poems as a reader and writer. This course is Agency, specializing in teen and adult fiction and non- their own work or to make extra money as they work appropriate for all levels of poetry and creative prose 5.0 units fiction with social justice themes. Ms. Porinchak is the on their own projects. Using exercises and readings, writers. (Six week course) Available for UCLA transferable credit, this workshop author of One Cut, a true crime novel that won the In students learn how to use the elements of craft to draft combines writing assignments with an exploration of Reg# 371164 The Margins Book Award honoring titles for youth that editorial letters and representative line edits. Class contemporary poetry. You look at forms ranging from Fee: $475 tackle difficult topics including gangs, homelessness, discussions also explore the various roles of profes- the sonnet to prose poems and develop your own voice. No refund after 20 Jan. violence, and addiction. sional editors. The goal is to gain confidence as an Each week the work of a contemporary poet is dis- mmOnline Katie Dunham, arts and culture communications editor by line-editing a large piece of fiction and writing cussed and writing assignments are critiqued. The Jan. 15-Feb. 25 consultant whose clients include CalArts, Los Angeles a detailed editorial letter as the final class assignment. course goal is to finish with a number of polished and Enrollment limited to 15 students. c Times, and USC, and past experience includes the completed poems and understand the demands and liz gonzález, MFA, author of Dancing Santa Ana Winds: GRAMMY Museum, Los Angeles County Museum of Art, Reg# 371168 rewards of living an inspired life through poetry. c Poems y Cuentos New and Selected. Ms. gonzález’s LA Plaza, Library Foundation of Los Angeles, Natural Fee: $575 Reg# 371076 work has appeared in Wide Awake: The Poets of Los History Museum, and more. No refund after 21 Jan. ❖ Fee: $699 Angeles and Beyond, and the San Francisco Chronicle, Julia Callahan, acquisitions editor and director of sales ❖ Classroom No refund after 14 Jan. among others. She is the director and founder of and marketing for Rare Bird Books, a literary publicity Thursday, 7-10pm, Jan. 16-Mar. 19 ❖❖ Classroom Uptown Word & Arts, promoting literacy and the arts. and events firm. Ms. Callahan is also the fiction editor UCLA Extension 1010 Westwood: 11 mtgs of The Rattling Wall literary journal. She helped run the 1010 Westwood Blvd. Thursday, 7-10pm, Jan. 9-Mar. 19 events department at Book Soup for four years. Enrollment limited. c UCLA: Haines Hall Tobi Harper, deputy director at Red Hen Press, editor Seth Fischer, for credits see page 154. Enrollment limited; early enrollment advised. and founder of Quill (a queer publishing series of Red Rick Bursky, MFA, poet and author of the poetry col- Hen Press); publisher of The Los Angeles Review; and WRITING X 451.1 lections I’m No Longer Troubled by the Extravagance, speaker on queer literature and publishing at confer- Copyediting I Death Obscura, and The Soup of Something Missing, ences, literary festivals, and college campuses. 3.0 units which won the Dorothy Brunsman Prize; and The Inven- Course Icons Jeanne De Vita, MFA, award-winning author and This course gives students an overview of copyediting tion of Fiction. Mr. Bursky’s work has appeared in freelance developmental editor for several publishing processes involved in preparing a manuscript for edito- American Poetry Review, Iowa Review, Harvard Review, Provide companies and authors of fiction and nonfiction. Ms. rial review or publication. Appropriate for writers of all Black Warrior Review, and Prairie Schooner. De Vita also works as a “story doctor” for spec TV/film genres and those seeking to develop professional skills Information projects. She writes and publishes romance under a in copyediting, students learn best practices for com- pen name including serialized original content for pleting a document review, including common grammar Radish. rules, copyediting notation, and reading like a At-a-Glance copyeditor. WRITING X 452.1 Reg# 371165 m ONLINE COURSE Editorial Management I: Acquisition Fee: $695 Technical requirements, page 5. to Publication No refund after 20 Jan. m 3.0 units mOnline g HYBRID COURSE, page 5. The process from written manuscript to published book Jan. 15-Mar. 24 is more complicated than most authors and newer Enrollment limited to 15 students. WEB-ENHANCED COURSE, page 5. c c publishing professionals expect. From what to look for Jeanne De Vita, for credits see page 154. ON-GROUND COURSE, page 5. in acquisitions to how to use metadata to your advan- v tage to booking a successful author tour, this course & TEXTBOOK REQUIRED covers everything that an author and publisher should Visit our website for textbook expect from reading manuscripts to the actual publica- tion date. By the end of the course, you understand how information. an editor turns an author’s manuscript into a saleable C UC CREDIT product. May be transferable­ to other kkk colleges and universities, page 6. Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 155

SCRIPT X 464.4E Screenwriting Writing Women 3.0 units New Screenwriting For help in choosing a course or determining if a The Year of the Woman continues—in our culture, in course fulfills certificate requirements, contact Congress, and in storytelling. Women-centered story- Jeff Bonnett at (310) 206-1542 or Chae Ko at telling is claiming its place on our televisions screens (310) 206-2612. and streaming services. In this course, you look at the history of women-centered storytelling on TV, from Courses for Winter Murphy Brown, to How to Get Away With Murder, to The Special Topics for Film Marvelous Mrs. Maisel, and from our good old, likeable heroines, to female anti-heroes, to the rich and more & Television Writers complex portrayals of women appearing on TV today. Introduction to Screenwriting Courses in this section are open to students who You discuss the importance of telling stories from a Instructor: Michael Weiss want a deeper understanding of a specific craft woman’s point of view, as well as its economic impact. or area of study. These courses fulfill the elective You create and write pitches for your own stories. By Page 157. requirement for screenwriting certificates. the end of the course you find your strongest, most authentic voice and make it heard! Building Compelling Story Settings NEW Reg# 371646 Instructor: Tom Pinchuk Fee: $665 SCRIPT 726.2 Page 155. The Art & Craft of Creating a No refund after 14 Jan. Compelling Logline ❖ Classroom 10 mtgs Writing Character Descriptions Having a ready and intriguing answer to the question Thursday, 7-10pm, Jan. 9-Mar. 12 “What’s it about?” is one of the most important things Instructor: Roz Weisberg UCLA: School of Public Affairs Bldg. a screenwriter can do to help advance their career. Enrollment limited to 15 students. Page 155. Most people’s attention spans are short, those of agents, managers and producers are arguably even Jacqueline Heinze, MFA, author, screenwriter, and The Art & Craft of Creating a shorter. You want to be able to pique your listener’s playwright who has written for the Lifetime Network, Compelling Logline interest as concisely, yet evocatively as possible. This Oprah Winfrey’s Oxygen Network and Jarrett Creative. one-day class includes a discussion of the elements Ms. Heinze was a former editor for Scholastic, Inc. and Instructor: Diane Drake has won The Agnes Nixon Playwriting Award. that make for a successful logline, exercises designed Page 155. to practice crafting them, and time for workshopping “ Analyze any scene or sequence in your your own loglines to help you create your strongest NEW Mastering Your Story by Revising version possible. Come prepared with two or three SCRIPT X 464.10E screenplay, and see if it does at least one ideas to workshop in-class. Building Compelling Story Settings the Screenplay of the following, but at best, all three: Reg# 371687 3.0 units Instructor: John Henry Davis Move the plot forward, illuminate Fee: $79 Dialogue, plotting and pacing are pillars of any good character, tell us new information.” No refund after 17 Jan. script or book. However, a strongly-evoked setting can Page 159. ❖ Classroom lift a good story into a great one. Through this course, ——John Henry Davis 1 mtg you look at striking examples of stories where the loca- Saturday, 10am-1pm, Jan. 18 tion was just as much a character as the protagonist. UCLA: School of Public Affairs Bldg. You take in such stories as a class and learn to articu- For advisement on courses or to learn about our certificates call (310) 825-9415 Early enrollment required; no enrollment at the door. late what makes your settings so striking. You look at or email [email protected]. Diane Drake, screenwriter, WGA member whose photos of interesting locations and find all the right credits include, What Women Want, starring Mel Gib- words to best describe them. And with visual media, son, and Only You, starring Robert Downey, Jr. and you even “reverse-engineer” descriptions based on Marisa Tomei. Ms. Drake was Vice President of Creative what you see, then compare your writing afterward to Affairs for Academy Award-winning director-producer what the script dictated in the first place. As the course Sydney Pollack’s Mirage Productions. progress, you are tasked to write stories in different media—prose, live-action, animation, graphic novel, NEW etc.—with an eye to establish and extenuate the setting. Through extensive workshopping of material in class, SCRIPT 726.3 you learn how to make location a signature aspect of Writing Character Descriptions your story, not just some arbitrary choice, and describe We are more than our age, weight and body type — it in vibrant, compelling language. more than hair and eye color, sexuality, race or one word adjectives that give a vague sense of someone Reg# 371139 without giving any specifics (“Sassy”,“Beautiful, but Fee: $665 No refund after 12 Jan. doesn’t know it”). A character’s description is the ❖ Classroom blueprint that brings them to life. Their core drives and 10 mtgs Writers’ Program attitudes can be established the moment they appear Tuesday, 7-10pm, Jan. 7-Mar. 10 in the script. In this course, you look at how specific UCLA: Haines Hall descriptions of characters can help lead to their dia- Enrollment limited to 15 students. logue, action and choices. You look at how characters are described on the page vs. who brought them to life Tom Pinchuk, TV writer, comic book writer and WGA Certificate on screen, and when to use race, sexuality or physical member, whose credits include Ben 10 (Cartoon Net- descriptions. You look at how to describe characters we work) and Gormiti: Nature Unleashed (Mondo World). know and apply these perspectives to your own char- Mr. Pinchuk’s comics include Hybrid Bastards, Max acter descriptions beyond clichés and tropes. Steel, Unimaginable, Tales From the Acker-Mansion and Hero Hotel. Reg# 371690 Resource Session Fee: $79 No refund after 7 Feb. ❖ Classroom Tuesday, January 30, 3pm–5pm; UCLA Extension Gayley Center 1 mtg Saturday, 10am-1pm, Feb. 8 The Certificate Resource Session offers certificate students detailed information UCLA: School of Public Affairs Bldg. Early enrollment required; no enrollment at the door. on how to navigate their curriculum, enroll in courses, submit to advanced Roz Weisberg, MFA, creative producer and book editor, classes, and complete the program, as well as redeeming certificate program whose credits include Beastly and Where the Heart Is. benefits such as the manuscript consultation. Students will meet with advisors, Ms. Weisberg is a former senior VP of development and production for Storefront Pictures. She has been a preview upcoming classes, and plan their course curriculum with advisors. Stu- creative consultant for The Disney Channel, National dents will also have the opportunity to enter a raffle to win giveaway bags that Geographic, and Focus Features. include WP merchandise and one free 10-week course.

For More Information [email protected] | (310) 825-9415 156 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

Reg# 371668 to series and others, even great ones, do not. In addi- Fee: $575 tion, you discuss real-world pilots and series, and dis- No refund after 16 Jan. sect their conceptual strengths and weaknesses, as ❖ Classroom well as specific execution (for those publicly available) 10 mtgs as it relates to the associated networks’ brand. Through Saturday, 10am-1pm, Jan. 11-Mar. 21 this process, you gain a better understanding of the UCLA: School of Public Affairs Bldg. differences between a network pilot and a cable pilot, No meeting Feb. 15. a franchise show, and a mythology show, and see how Enrollment limited to 20 students. those ideas fit within existing network brand identities. Warren Lewis, MFA, screenwriter/producer and WGA Course also includes insight into the business of televi- member who wrote Black Rain, directed by Ridley Scott, sion development and network programming/schedul- and The 13th Warrior, starring Antonio Banderas. He ing. During the course, each student’s one original pilot has also sold and developed both features and pilots idea is evaluated to determine its most suitable Four Days of Fresh Air for Warner Bros. FOX, Paramount, Ensemble Entertain- network(s) based on its creative content and the net- ment, and Sony Pictures, among many others. work brands as identified in class. Each student is also responsible for creating and presenting an original SCRIPT X 432 network schedule. Narrative Storytelling for Podcasts Reg# 371657 and Free Writing Time! 2.0 units Fee: $399 Podcasting’s exploding popularity has spurred a flurry No refund after 18 Jan. of new opportunities in audio storytelling. Whether you ❖ Classroom September 13–18 are a seasoned print writer or a beginning audio pro- 6 mtgs ducer, you come away with the basics of crafting Monday, 7-10pm, Jan. 13-Mar. 2 Join us in beautiful Lake Arrowhead for the writing retreat of a lifetime. You’ll compelling nonfiction narratives with sound and scenes. UCLA: School of Public Affairs Bldg. You learn how to prep for an interview, write to tape, No meetings Jan. 20; Feb. 17. spend 4 full days focused on the project of your choice, writing at your own structure for moments of revelation, and develop your Enrollment limited to 15 students. pace among a community of writers in a peaceful and cozy mountain setting. public radio story pitch or podcast pilot. Lee Hollin, MEIM, who serves as the Senior Vice Reg# 371666 President, Current Programming at Lions Gate. As the Find your perfect spot in nature, hunker down, and get those pages written. Come Fee: $665 former Vice President of Current Programming at CBS together for meals with like-minded peers, and join in optional guided activities designed No refund after 16 Jan. Entertainment, Mr. Hollin oversaw Madam Secretary, ❖ Classroom The Odd Couple, Jane The Virgin, and Criminal Minds. to bolster your writing and keep it moving forward. 10 mtgs Enjoy private single rooms and baths, three meals a day, and all the beverages you can Saturday, 10am-1pm, Jan. 11-Mar. 21 SCRIPT X 451.2 UCLA Extension DTLA: 261 S. Figueroa St. How to Research Your Story drink for one affordable all-inclusive price of $1,699, plus a $10 nonrefundable No meeting Feb. 15. 3.0 units registration fee. Enrollment closes August 1. Enrollment limited to 15 students. Research always pays off (and not just when it comes Annie Gilbertson, an award-winning journalist, audio to historical works of fiction). This is especially true Daily Schedule producer and host of the serialized investigative podcast when it comes to things that we think we know, things 7am–12pm 1–6pm Repeat for KPCC, (LA’s public radio station). Ms. Gilb- we’ve seen depicted before, like the inner workings of ertson is a frequent contributor to NPR and she is also a law firm or the emergency room in a hospital. The Writing Time Writing Time a consultant on story development and narrative craft most important step in writing a screenplay (or novel) 8–9am 5:30pm for audio and print. is gaining the breadth of knowledge and mastery of the Buffet Breakfast Optional Social Time material that’s necessary to write with authority. The SCRIPT X 464.5E facts you find are almost always better than the stuff 12–1pm 6pm Ultimate Character Creation that you make up, and the creative decisions and Buffet Lunch Dinner 3.0 units choices you make based on research leads to improve- Having a great story is crucial, but the key to selling ments that won’t happen in any other way. The goal of 1–2pm 8pm your screenplay is character. You must have great the course is to learn how to gain mastery, and become Optional Group Craft Talk Optional Open Mic characters. In this class, you learn how to create an authority, on the subject of a script that you intend to write. 7pm–12am dynamic, exciting characters that audiences will love and actors will be dying to play (the real secret to sell- Reg# 371605 Writing Time ing and getting your screenplay made!) You analyze Fee: $695 great movie characters, focusing on key scenes that No refund after 13 Jan. make us fall in love with a character. You examine mmOnline unlikable characters, villains, and supporting characters. Jan. 8-Mar. 17 For More Information You will also dive into narrative function, character arc, Enrollment limited to 15 students. (310) 825-9415 | writers.uclaextension.edu/writing-retreat-at-lake-arrowhead backstory, psychology and motivation, personality, and Daniel Sussman, MFA, JD, screenwriter; WGA member body language. Step by step you will build your char- who served as a staff writer for ABC’s The Practice. Mr. acters through the use of weekly assignments including Sussman most recently sold his big-budget disaster SCRIPT X 461.1E exercises, worksheets, and scene writing, giving you feature Galveston to Warner Bros. Pictures. He has sold the ultimate toolbox for creating truly great characters scripts to production companies including Polaris Pic- Adaptation For Screenwriters I every time. Course Icons 3.0 units tures and NBC Television Network. The first part in a two-part sequence designed for writ- Reg# 371667 Provide ers who want to focus on adapting literary material, Fee: $665 SCRIPT X 464.9E fiction or nonfiction, into films and television pilots. The No refund after 21 Jan. Creating Memorable Characters Information goal is to help you develop the skills associated with ❖ Classroom Through Their Core adaptation so vital in the current industry and your 10 mtgs 2.0 units unique voice and style. This course will introduce Thursday, 7-10pm, Jan. 16-Mar. 19 Memorable stories are grounded by great characters. The At-a-Glance screenwriters, writers of fiction and drama, and creators UCLA: School of Public Affairs Bldg. core of who those characters are drive the story, but of new media to the aesthetic and techniques of creat- Enrollment limited to 15 students. characters need to take action, and those actions need m ONLINE COURSE ing visual, dramatically compelling scripts. Your major Donald H. Hewitt, screenwriter and WGA member to ring true to their core as they move from one plot point Technical requirements, page 5. project is to complete and polish an outline and the whose feature film credits include the English-language to the next. Why is your character making that specific opening scene of your script, based on a public domain screenplay for Hayao Miyazaki’s Oscar-winning film, choice at a particular moment? What’s their motivation? g HYBRID COURSE, page 5. material from literary, theatrical, mythical, and tradi- Spirited Away, My Neighbor Totoro, and the Oscar- Whether you are finished with a draft or just have a tional sources. The participant may also work other nominated Howl’s Moving Castle. Mr. Hewitt has written nugget of an idea, the core of your characters must be WEB-ENHANCED COURSE, page 5. available material including biographies, fact-based and for Pixar, Miramax, New Line, and Disney. excavated. Through examples, discussions, and writing c personal material. In addition, you learn how to source exercises, you discover your characters’ needs, wants, v ON-GROUND COURSE, page 5. for original material and the attaining of rights, including SCRIPT X 426.2 and drives. You flush out how your characters think and life rights. The scripts can be preparation for Adaptation TV Pilot Essentials and the TV feel, to discover who they are fundamentally. You also & TEXTBOOK REQUIRED II in which full-length features and television pilots will Business address how the core elements of your characters influ- Visit our website for textbook be developed and written. 2.0 units ence plot and structure and discover ways to reveal that information. What is a pilot? Most people think of a pilot as the first through action and dialogue. The goal of this course is kkk episode of a series, which it often is—but not always. to chart the emotional journey of your protagonist char- C UC CREDIT In this comprehensive course, you explore how a pilot acter and leave with tools that can be applied to make May be ­transferable to other is different from a regular episode of a series; define every character, regardless of how big or small, play colleges and universities, page 6. elements of a great pilot and how those differ from a meaningful roles in your story. feature film; and discover why some pilots get ordered kkk Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 157

Reg# 371647 SCRIPT X 463.3E SCRIPT X 469.4E SCRIPT X 416.3E Fee: $475 Screenwriter’s Lab: The New Method How to Pitch Your Feature Film and Writing Screenplay Coverage No refund after 20 Jan. 3.0 units Television Series 3.0 units m mOnline Beau Willimon (creator and show runner, House of 1.0 units Designed for both aspiring story analysts and screen- Jan. 15-Feb. 25 Cards), Aaron Sorkin (Steve Jobs, The Social Network), In today’s media landscape, knowing how to pitch both writers who want to accelerate their careers, this course Enrollment limited to 15 students. and Sheila Callaghan (writer and producer, Shameless) film and television projects is essential to a successful helps you master the methods used by story analysts Roz Weisberg, MFA, creative producer and book editor, are among countless television and film writers who got career. Understanding the difference between the two who evaluate submissions to production companies, whose credits include Beastly and Where the Heart Is. their start in the theatre, and who continue to work in is the first important step. In this course, you demystify agencies, and studios. You learn how to do an in-depth Ms. Weisberg is a former senior VP of development and both disciplines. Agents and producers often read plays the pitch process for both film and television, as well analysis of the three-act structure, as well as dramatic production for Storefront Pictures. She has been a with the goal of finding a writer who excels at charac- as study the key similarities and the subtle differences and comic scene construction. You also learn the pre- creative consultant for The Disney Channel, National ter-driven storytelling—which is at the heart of theatre. in each format. Topics include outlining and preparing cise terminology used in story sessions, the foundations Geographic, and Focus Features. In this course, you learn tools to deepen your charac- your live pitch, character building, pacing with emotion, for great dialogue, and how to find original approaches ters, expand on new plot ideas, and most importantly, sizzle versus story, presenting yourself as a passionate to established genres. These and other principles SCRIPT X 469.1E find your unique voice as a writer. You first explore the expert, dealing with notes, and post-pitch strategies. become synthesized into coverage written to the high- Strategies for Getting Representation fundamentals of play construction and writing tech- Lectures and workshop time allow you to apply these est professional standards in preparation for a job as 2.0 units niques, writing frequently to master the art and craft of lessons to your original material, with an opportunity by either a story analyst or screenwriter who needs to Understanding how Hollywood operates is crucial for playwriting, culminating in a one-act play or one act of the end of class to practice some live pitching on your critique his or her own scripts effectively. any new screenwriter seeking agents and managers for a play. You then learn to apply your new-found skills to own. Reg# 371602 representation. First you must know the differences your own film or TV script, and have the best 10 pages Reg# 371669 Fee: $695 between the roles an agent plays versus a manager. ready to be performed by actors in the final class. Fee: $269 No refund after 13 Jan. Furthermore, differentiating between power agents, Reg# 371603 No refund after 28 Feb. mmOnline boutique agents, and managers who act like agents Fee: $665 ❖ Classroom Jan. 8-Mar. 17 empowers you to find the representation that is right No refund after 16 Jan. 2 mtgs Enrollment limited to 15 students. for you. Special attention is paid to preparing your script ❖ Classroom Saturday, 1-6pm, Feb. 29-Mar. 7 Barney Lichtenstein, MA, professional story analyst for agency submission to demystify what reps really 10 mtgs UCLA: School of Public Affairs Bldg. for companies such as Amblin, Imagine, and New Line. look for in their next hot writing client, as this can be Saturday, 10am-1pm, Jan. 11-Mar. 21 Enrollment limited to 20 students. Referring trained story analysts to Sundance Institute different from what development executives and buyers UCLA: School of Public Affairs Bldg. Michael Weiss, screenwriter; WGA member; former VP and production companies, he is a UCLA Extension look for. While it’s true that formulaic scripts tend to sell No meeting Feb. 15. of production for Miramax Films whose credits include Outstanding Instructor in Screenwriting and story editor better in Tinseltown, this course also covers strategies Enrollment limited to 15 students. Journey to the Center of the Earth, The Scorpion King of a Peabody Award winning program. for writers who seek representation with more charac- Leon Martell, MFA, playwright, actor, and director, 4, and I’ll Always Know What You Did Last Summer. He ter-driven indies in their portfolios. By the end of the whose plays include STEEL: John Henry and the is a recipient of the UCLA Extension Outstanding course, you have a solid understanding of what steps Shaker, winner of two 2002 Ovation Awards, and who Instructor Award in Screenwriting. to take next for your career. directed String of Pearls at Carnegie Hall. He is a recipi- Feature Film Reg# 371607 ent of the UCLA Extension Outstanding Instructor Award SCRIPT X 415.2 Fee: $475 in Creative Writing. Writing for Emotional Impact No refund after 20 Jan. 3.0 units m Beginning Feature mOnline SCRIPT X 464.6E Great writing is about creating an emotional experience Jan. 15-Feb. 25 Writing Funnier and Better Using in the reader—including producers, directors, or anyone Film Writing Enrollment limited to 15 students. Improv Comedy Techniques in the position to advance your script—so that their Recommended for beginning students, these Chris Sablan, owner of Avenue 220, and former agent 2.0 units attention is riveted and they keep turning pages. courses build on one another in a four-part at Original Artists, his clients include screenwriters/ Taught by a successful writer and seasoned improvisa- Designed for those familiar with the basic elements of sequence. With the close guidance of the instruc- producers/directors whose credits include The Girl Next tional player, this workshop introduces you to the basic a screenplay and who have at least an outline in hand, tor, students share and offer feedback in a sup- Door, Saw, The Heat, This is 40, Journey to the Center principles of improv comedy performance and applies this workshop focuses exclusively on how to craft your portive environment focused on assessing the of the Earth, Helix, Colony, Grey’s Anatomy, and Scan- those principles to writing for television and film. As a words for emotional impact. Through analyses of pro- strengths and weaknesses of the work. By the dal, among many others. comedy writer, you gain so much through learning fessional examples, workshop discussions, and lec- end of the sequence, students have a completed improv techniques, a greater understanding of the ele- tures, you learn how to test your concept at the draft of their first feature film script. SCRIPT X 464.11E ments of a scene and character and knowing how to emotional level; grab the reader through powerful How to Write, Funny, Compelling find comedic moments within a scene. Improv also storytelling devices; humanize your main characters, NEW gives you greater confidence in yourself and your abili- create emotionally gripping scenes, energize descrip- Dialogue that Doesn’t Suck SCRIPT X 400 3.0 units ties, and can be an effective tool in overcoming writing tions; and turn flat, on-the-nose dialogue into individu- Great, funny, compelling dialogue is easier than you blocks, working with other writers on a writing staff, and alized speech that leaps off the page. Introduction to Screenwriting think. It comes when you focus on one single thing: pitching stories to producers and development execu- 2.0 units Reg# 371604 This six-week course is perfect for anyone getting started your moral premise. There’s a vice and a virtue ready tives. In a comfortable and supportive environment, you Fee: $695 to argue with each other, and funny lines arrive when actively participate in improv exercises, games, and on their path to becoming a screenwriter. Each class No refund after 13 Jan. offers a broad-strokes introduction to a different writing you see the strengths and weaknesses in your argu- scenes. The goal is to learn the basics of comedy mmOnline ment. In this workshop, you learn how screenplay sketch writing, and you leave the course with three format such as Feature Film, Television Specs, Television Jan. 8-Mar. 17 Pilots, Web Series, Podcasting, plus a look at the busi- structure can be dialogue’s best friend; how to write completed sketches/scenes (each three-to-five pages). Enrollment limited to 15 students. great dialogue by drawing from your worst life ness of writing. Lectures by guest speakers offer insight Reg# 371654 Karl Iglesias, MFA, screenwriter and script doctor, who and instruction on each topic, followed by guided work- moments, and how to be a ruthless editor. You also Fee: $399 is the author of The 101 Habits of Highly Successful learn how to avoid dialogue pitfalls like wordiness, shop sessions where students put those theories into No refund after 18 Jan. Screenwriters and Writing for Emotional Impact. Mr. action on their own material. The goal of the course is to clunkiness, ambivalence, and wishy-washiness. By the ❖ Classroom Iglesias is a former development executive for Samson give new writers a taste of different screenwriting types end of the course you write dialogue that cracks like a 6 mtgs Entertainment. He is a recipient of the UCLA Extension whip. to help deepen their overall knowledge while sparking Monday, 7-10pm, Jan. 13-Mar. 2 Outstanding Instructor Award in Screenwriting. their creative energy. At the end of the quarter, students Reg# 371606 UCLA: School of Public Affairs Bldg. should feel more confident about their skills and be Fee: $575 No meetings Jan. 20; Feb. 17. prepared for further study of writing. No refund after 12 Jan. Enrollment limited to 15 students. ❖ Classroom Stephen Mazur, screenwriter and WGA member whose Reg# 371051 10 mtgs credits include co-writing Liar, Liar; The Little Rascals; Fee: $399 Tuesday, 7-10pm, Jan. 7-Mar. 10 and Heartbreakers. Mr. Mazur also wrote The Crooked No refund after 20 Jan. ❖ UCLA Extension Lindbrook Center: E: The Unshredded Truth about Enron for CBS and Classroom 10920 Lindbrook Dr. Wedding March for A&E. He is a recipient of the UCLA 6 mtgs Wednesday, 7-10pm, Jan. 15-Feb. 19 Enrollment limited to students. Extension Outstanding Instructor Award in 20 UCLA: School of Public Affairs Bldg. Michael Jann, Emmy-nominated television writer and Screenwriting. Enrollment limited to 15 students. WGA member who served 22 years as a comedy Mark Steen, writer/producer and WGA member whose monologue writer for The Tonight Show with Jay Leno. writing credits include sitcom, animation, and sketch Michael Weiss, screenwriter; WGA member; former VP Mr. Jann most recently served as a comedy writer for comedy programs. He has performed with various of production for Miramax Films whose credits include The Tonight Show Starring Jimmy Fallon and has writ- improv groups in Los Angeles, including The Ground- Journey to the Center of the Earth, The Scorpion King ten features and TV pilots for major studios. lings, Funny You Should Ask, and The Company of 4, and I’ll Always Know What You Did Last Summer. He Angels. is a recipient of the UCLA Extension Outstanding Instructor Award in Screenwriting. 158 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

SCRIPT X 410.1 Niro’s Tribeca Productions, Edward R. Pressman, TriStar, SCRIPT X 410.3 Writing the First Screenplay I Universal Pictures, and The Jim Henson Company. Writing the First Screenplay III Intermediate Feature 3.0 units Reg# 371146 3.0 units Film Writing The first in a four-part sequence designed to take you Fee: $665 The third in a four-part sequence in writing a feature film through the full process of writing a feature film screen- No refund after 16 Jan. screenplay, this course focuses on writing the next 45 Courses in this section are for students who have play, this course grounds you in the key craft elements ❖ Classroom pages of your script. You also refine your story outline; flesh completed at least one screenplay. A new project of story structure, plot, scene development, character, 10 mtgs out main and secondary characters; continue to develop is begun with an emphasis on craft issues such theme, genre, and dialogue, and shows you how they Saturday, 10am-1pm, Jan. 11-Mar. 21 the art of the scene as it pertains to type, choice, structure, as structure, character development, and emo- work together to grip an audience’s emotions. You learn UCLA Extension DTLA: 261 S. Figueroa St. and placement; and begin to discover each character’s tional content. Self-editing techniques are how to create and evaluate story ideas, explore how No meeting Feb. 15. unique voice. You learn the habits you need to sustain the introduced. characters’ inner wants and immediate goals shape Enrollment limited to 15 students. work of writing a screenplay. The goal is to write up to 45 and drive a screenplay’s action, see what constitutes Tony DuShane, author of Confessions of a Teenage Jesus pages from beginning of Act II. May be repeated for credit. SCRIPT X 411.1 compelling plots and subplots, and learn how to con- Jerk and award winning screenwriter of the adaptation Prerequisite(s): X 410.1 Writing the First Screenplay I Feature Film: Writing Outline and struct a scene. Throughout the course, you complete a directed by Eric Stoltz. His work has appeared in the Los and X 410.2 Writing the First Screenplay II. Students Act I series of exercises which serves as the basis for your Angeles Times, The Believer, Mother Jones, and he was must bring their beat sheets or treatments and Act I to 3.0 units script outline, a prose description of your screenplay. a music columnist for the San Francisco Chronicle. the first class meeting and be prepared to write. Designed for writers with at least one screenplay under The course goal is to learn how to write effective, Reg# 371309 their belts, this workshop guides you to launch and compelling scenes and to create a four-to-five-page SCRIPT X 410.2 Fee: $695 make significant headway on a new project. The goal outline that clearly delineates your script’s beginning, Writing the First Screenplay II No refund after 13 Jan. is to develop a strong premise that sustains your entire middle, and end. The ability to write an effective outline 3.0 units mmOnline script, create and refine the story outline, and write Act is a critical skill for the professional screenwriter, serves This second in a four-part sequence in writing a feature Jan. 8-Mar. 17 I. Brief lectures on craft issues based on the demands as the basis for most pitches, and is required for admis- film script has you hit the ground running. You begin by Enrollment limited to 15 students. of the participants’ work supplement the workshop. sion into X 410.2 Writing the First Screenplay II. pitching your story based on your outline and revising it to Valerie Brandy, screenwriter/director/actress and WGA Reg# 371324 Reg# 371082 make sure the premise can carry the entire movie. Armed member, who wrote, directed, and starred in the feature Fee: $665 Fee: $665 with a workable outline, you then flesh it out into either a film Lola’s Last Letter. Ms. Brandy has written for both No refund after 13 Jan. No refund after 12 Jan. beat sheet or treatment (at the instructor’s discretion) and the Disney Channel and Denver and Delilah Produc- ❖ Classroom ❖ Classroom begin writing your screenplay. Personalized feedback along tions. She currently serves as a full-time staff writer for 10 mtgs 10 mtgs with mini-lectures on key craft points, including character Disney’s live-action feature department. Wednesday, 7-10pm, Jan. 8-Mar. 11 Tuesday, 7-10pm, Jan. 7-Mar. 10 development, story structure, and conflict, help you to meet Reg# 371265 UCLA: School of Public Affairs Bldg. UCLA: Kaplan Hall the course goal, which is to write Act I (approximately 30 Fee: $665 Enrollment limited to 15 students. Enrollment limited to 15 students. pages). May be repeated for credit. No refund after 20 Jan. Cynthia Riddle, MFA, award-winning writer/producer, Colin Costello, screenwriter, director and WGA-East Prerequisite(s): X 410.1 Writing the First Screenplay I. ❖ Classroom a former development exec at MGM, and WGA member member, whose credits include The Stream starring Students must bring a four-to-five-page outline they 10 mtgs who wrote the films Crossroads, Puppy Love, and The Rainn Wilson and Alternate Universe. Mr. Costello’s TV created in Writing the First Screenplay I to first class Wednesday, 7-10pm, Jan. 15-Mar. 18 Brittany Murphy Story. She has also written projects for credits include Lost n’ Found and Detectives Club. He meeting and be prepared to pitch it. UCLA: School of Public Affairs Bldg. Netflix, Showtime, PBS, Nickelodeon, Disney, Starz, and has also written and directed award-winning shorts Reg# 371157 Enrollment limited to 15 students. MarVista, among others. including The After Party and Dreamwisher. Fee: $665 Donald H. Hewitt, screenwriter and WGA member Reg# 371325 Reg# 371088 No refund after 11 Jan. whose feature film credits include the English-language Fee: $695 Fee: $665 ❖ Classroom screenplay for Hayao Miyazaki’s Oscar-winning film, No refund after 13 Jan. No refund after 13 Jan. 10 mtgs Spirited Away, My Neighbor Totoro, and the Oscar- mmOnline ❖ Classroom Monday, 7-10pm, Jan. 6-Mar. 23 nominated Howl’s Moving Castle. Mr. Hewitt has written Jan. 8-Mar. 17 10 mtgs UCLA Extension DTLA: 261 S. Figueroa St. for Pixar, Miramax, New Line, and Disney. Enrollment limited to 15 students. Wednesday, 7-10pm, Jan. 8-Mar. 11 No meetings Jan. 20; Feb. 17. Michael Barlow, producer, screenwriter, and WGA UCLA: School of Public Affairs Bldg. Enrollment limited to 15 students. SCRIPT X 410.4 member who, as an executive at Paramount Classics, Enrollment limited to 15 students. Andrew Knauer, MFA, screenwriter and WGA member Writing the First Screenplay IV oversaw Black Snake Moan and Mad Hot Ballroom. He Laurence Rosenthal, writer/producer, development who wrote The Last Stand, starring Arnold Schwar- 3.0 units was vice president of production at various major stu- exec and WGA member who supervised the develop- zenegger, and Ghost Team One (Paramount Pictures). In the last of a four-part sequence in writing a feature dios, including Orion Pictures. His writing credits include ment of Scream, Beautiful Girls, Copland, and Citizen He also wrote a sci-fi/action feature for Universal Pic- film screenplay, you reach FADE OUT. In the process of the miniseries Kidnapped and the ABC drama Family. Ruth. Mr. Rosenthal is a recipient of the UCLA Extension tures and is currently adapting the comic book, 5 Days completing your script, you home in on structuring Outstanding Instructor Award in Screenwriting and is to Die, for Circle of Confusion. conversations, explore how to maximize your story’s SCRIPT X 411.2 also the writer/producer of the film No Manches Frida. Reg# 371158 visual implications, deepen scene writing skills, assem- Feature Film: Writing Acts II and III Reg# 371151 Fee: $665 ble scenes to form powerful sequences, ensure your 3.0 units Fee: $695 No refund after 12 Jan. script’s central conflict is resolved, and work on theme This workshop guides you to complete your current No refund after 13 Jan. ❖ Classroom and imagery. Also covered are revision techniques and project. You focus on developing a successful second mmOnline 10 mtgs the business aspects of feature film writing. The goal is and third act, with special attention given to structure, Jan. 8-Mar. 17 Tuesday, 7-10pm, Jan. 7-Mar. 10 to complete writing your first feature film script. character development, emotional content, and cine- Enrollment limited to 15 students. UCLA Prerequisite(s): X 410.1 Writing the First Screenplay I, matic style. You also acquire self-editing techniques Ron Wilkerson, writer/director and WGA member Enrollment limited to 15 students. X 410.2 Writing the First Screenplay II, and X 410.3 essential for the professional writer. This is not a rewrite whose credits include Stargate SG-1, Star Trek: The Julia Camara, award-winning Brazilian screenwriter/ Writing the First Screenplay III. Students must bring their course; you must be working toward the completion of Next Generation, Star Trek: Voyager, and Trade Show. filmmaker and WGA member who won a Telly Award beat sheets or treatments, Act I and 45 pages of Act II a feature-length script and have your outline and Act I He is currently developing Dreamland for ABC Studios for the sci-fi found footage feature Occupants. Ms. to the first class meeting and be prepared to write. of your script in hand. and is a recipient of the UCLA Extension Outstanding Camara’s feature directorial debut In Transit, won Best Reg# 371310 Prerequisite(s): X 411.1 Feature Film Writing Workshop: Instructor Award in Screenwriting. Experimental Film at four different festivals. Her other Fee: $665 Outline and Act I, or equivalent, or consent of Reg# 371156 writing credits include Area Q and Open Road. No refund after 13 Jan. instructor. Fee: $695 Reg# 371159 ❖ Classroom Reg# 371326 No refund after 13 Jan. Fee: $695 10 mtgs Fee: $665 mmOnline No refund after 13 Jan. Wednesday, 7-10pm, Jan. 8-Mar. 11 No refund after 12 Jan. Jan. 8-Mar. 17 mmOnline UCLA: School of Public Affairs Bldg. ❖ Classroom Enrollment limited to 15 students. Jan. 8-Mar. 17 Enrollment limited to 15 students. 10 mtgs Michael Janover, MFA, screenwriter; WGA member Enrollment limited to 15 students. Michael Barlow, producer, screenwriter, and WGA Tuesday, 7-10pm, Jan. 7-Mar. 10 whose credit include The Philadelphia Experiment, Kate Marciniak, MA, writer, and professional story member who, as an executive at Paramount Classics, UCLA: School of Public Affairs Bldg. Hardly Working, and Mr. Boogedy. His projects include analyst who has worked on studio features and inde- oversaw Black Snake Moan and Mad Hot Ballroom. He Enrollment limited to 15 students. a horror/comedy script for Cheech and Chong, and a pendent movies for over two decades, for companies was vice president of production at various major stu- Matthew Harrison, director/writer/producer, whose pilot for Aaron Spelling Productions. He was also a such as Disney, HBO, Miramax, Dreamworks SKG, dios, including Orion Pictures. His writing credits include credits include Rhythm Thief (Jury Prize, Sundance Film writer on the original Hawaii Five-O series. Warner Bros. 20th Century Fox, and Amazon Studios. the miniseries Kidnapped and the ABC drama Family. Festival), Kicked in the Head (executive producer Martin Reg# 371091 Reg# 371160 Reg# 371313 Scorsese), Spare Me, Sex and the City, Popular, and Fee: $665 Fee: $695 Fee: $695 Dead Last. Mr. Harrison received the UCLA Extension No refund after 14 Jan. No refund after 13 Jan. No refund after 1 Jan. Outstanding Instructor Award. m ❖ Classroom mmOnline mOnline kkk 10 mtgs Jan. 8-Mar. 17 Jan. 8-Mar. 17 Thursday, 7-10pm, Jan. 9-Mar. 12 Enrollment limited to 15 students. Enrollment limited to 15 students. UCLA: School of Public Affairs Bldg. Ronald Raley, screenwriter; WGA member whose Steven Schwartz, screenwriter/producer, WGA mem- Enrollment limited to 15 students. credits include Edge of Sanity, Dorian, Cupid and Cate, ber, Spirit Award nominee for his screenplay for the Philip Eisner, screenwriter-director and WGA member The Runaway, and The Locket, for which he received a Sidney Lumet-directed movie Critical Care. His TV who wrote Event Horizon for Paramount Pictures and Camie Award. Mr. Raley has worked as a development credits include The Practice and100 Centre Street. He Firestarter 2: Rekindled for USA Networks. Mr. Eisner executive for Cannon Pictures and Hallmark Hall of has written scripts and pilots for Fox, ABC, FX, Disney, has written for Scott Rudin Productions, Robert De Fame Productions. NBC, Universal, Lionsgate, HBO, and many others. Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 159

Reg# 371327 Fee: $695 No refund after 13 Jan. Television mmOnline Jan. 8-Mar. 17 Enrollment limited to 15 students. Beginning Television Writing Martin Copeland, PhD, award-winning screenwriter Recommended for beginning students who are who has written feature films in both the U.S. and writing a spec script of an existing comedy or Europe, among them Texas Rangers for Miramax; drama series. With the close guidance of the Handyman, a 2006 Buena Vista International co-pro- instructor, students share and offer feedback in duction; The Heavenly Kid; and The Sinking of the a supportive environment focused on assessing Rainbow Warrior. the strengths and weaknesses of the work. Enter the Feature Film SCRIPT X 421.1 Advanced Feature Beginning Writing for the Half-Hour Film Writing Spec I 3.0 units Advanced-level courses are primarily workshop- This course teaches you how to create an airtight story and TV Writing driven and are designed for students who are and outline—the critical first step in writing a strong well into their projects. Admission is by submis- half-hour comedy spec script and a process that makes sion only and the selection process is competi- writing your script much easier, faster, and more suc- tive. It is recommended that students take cessful. You begin by learning how to pinpoint what intermediate-level courses prior to submitting makes any half-hour comedy show tick, studying the Competitions by April! their work. For instructions on submitting work, appeal and quirkiness of the main characters, and contact the Writers’ Program at (310) 825-9415 identifying the unique spin shows put on their stories. or go to writers.uclaextension.edu/continuing- You then focus on your own script for a current show, Three exclusive opportunities recognize the highest levels of screenwriting students. The submission deadline for winter is finding the story and identifying the comedy in it, learn- Dec. 2 at 9am (PT). Visitors are not permitted in ing how to pitch it, and creating a workable outline from students’ skill and craft: the UCLA Extension Feature Film Competition and the advanced-level courses. which to write. Instruction also covers the “need to UCLA Extension Television Writing (Spec and Pilot) Competitions. All three know” business aspects of the half-hour show, such as NEW the current use of spec scripts to get jobs and the competitions provide winners with one-on-one mentoring and targeted and SCRIPT X 412.5 basics of how a comedy writer works on staff, how invaluable Hollywood-industry exposure. Mastering Your Story by Revising freelance writers move onto staff, how a writing staff is the Screenplay structured, and how writers work collaboratively “in the Applications for this year’s competitions are now available. Deadline is April 1. 3.0 units room.” All student projects must focus on current Visit writers.uclaextension.edu/competitions/ for details and to submit. This course focuses on strengthening elements of the shows from a list provided by the instructor; no pilots. feature film screenplay, derived from the principles Reg# 371437 taught in the Fundamentals of Story course. Every week Fee: $665 a segment of the screenplay is workshopped in class, No refund after 12 Jan. with feedback from the instructor and guided critique ❖❖ Classroom from class peers. Special attention is given to the tasks 10 mtgs For More Information of making the work visual as well as building unique Tuesday, 7-10pm, Jan. 7-Mar. 10 characters through dialogue and behavior, including an UCLA: School of Public Affairs Bldg. [email protected] | (310) 206-1542 advanced critique of structure as well as an examina- Enrollment limited to 15 students. tion of selected elements of filmmaking. Students find Barry Vigon, MFA, writer/producer, and WGA member Reg# 371443 rent shows; no pilots. the best way to build dramatic tension through each who served as a co-exec producer on Malcolm & Eddie Fee: $695 Prerequisite(s): X 421.1 Beginning Writing for the Half- act, focusing on creating powerful turning points for the and Martin, a producer on Something Wilder, and a No refund after 13 Jan. Hour Spec I. central characters. The crucial first ten pages as well supervising producer on Veronica’s Closet. Mr. Vigon mmOnline Reg# 371449 as final pages are analyzed and revised to find the best wrote for Soap, Roseanne, and Fame, and created pilots Jan. 8-Mar. 17 Fee: $665 possible springboard and conclusion for the story, for CBS, NBC, ABC, and The Disney Channel. Enrollment limited to 15 students. No refund after 13 Jan. incorporating relevant dramatic questions. By the end Reg# 371439 Gisselle Legere, a former epidemiologist turned writer ❖❖ Classroom of the course, students have a final draft of their Fee: $695 and WGA member. She is an alum of the Sundance 10 mtgs screenplay forged by this process of thorough revision, No refund after 13 Jan. Screenwriters Intensive lab and the Disney-ABC Writer’s Wednesday, 7-10pm, Jan. 8-Mar. 18 providing a significant step towards submission to mmOnline Program. Ms. Legere was most recently staffed on UCLA: School of Public Affairs Bldg. industry professionals. Jan. 8-Mar. 17 ABC’s Quantico, where her episode “No Place is Home” No meeting Feb. 26. Reg# 371050 Enrollment limited to 15 students. was nominated for a Women’s Image Award. Enrollment limited to 15 students. Fee: $755 Jim Staahl, writer, producer, and actor; WGA member; Reg# 371440 Eric Abrams, screenwriter/producer and WGA member, No refund after 7 Jan. two-time Emmy Award nominee whose comedy feature Fee: $665 whose television credits include Liv & Maddie, Married ❖❖ Classroom credits include The Beverly Hillbillies, Under Surveil- No refund after 14 Jan. with Children, Abby, among many others. Mr. Abrams 10 mtgs lance, and Blow Hard. Mr. Staahl also has written ❖❖ Classroom co-wrote the feature film Crocodile Dundee in Los Tuesday, 7-10pm, Jan. 14-Mar. 17 sketch/variety shows for Steve Martin, Martin Short, and 10 mtgs Angeles and has sold pilots to Fox, NBC, CBS, and UPN. UCLA: School of Public Affairs Bldg. Howie Mandel. Thursday, 7-10pm, Jan. 9-Mar. 12 Enrollment limited to 12 students. Visitors not permit- Reg# 371452 UCLA: School of Public Affairs Bldg. Fee: $695 ted. $100 non-refundable. Not eligible for any SCRIPT X 421.3 Enrollment limited to 15 students. discounts. No refund after 13 Jan. Beginning Writing for the One-Hour Greg Elliot, TV writer and WGA member whose credits mmOnline John Henry Davis, MFA, director/screenwriter, play- Spec I include Star Trek: Voyager, for which he received a Jan. 8-Mar. 17 wright; WGA, DGA, SDC member whose credits include 3.0 units Sci-Fi Universe Award nomination. Mr. Elliot’s credits Enrollment limited to 15 students. directing OZ, The Sarah Jones Show, and Broken Mir- Modeled directly on how writers write in the real world also include Savannah, Charmed, and In a Heartbeat. rors. He’s directed plays at the Lincoln Center, the Kevin Kelton, Emmy-nominated TV writer/producer of one-hour dramas, this course focuses on what is He is a recipient of the UCLA Extension Outstanding whose credits include Saturday Night Live, Boy Meets Kennedy Center, and the Mark Taper Forum, including most central to creating a strong script as well as the Instructor Award in Screenwriting. the show Daughters with Marisa Tomei. World, Night Court, and A Different World. Mr. Kelton largest piece (40%) of the writer’s deal with any show: has written for ABC, CBS, NBC, FOX, FX, AMC, and the the story and outline. You learn to choose the best story SCRIPT X 421.2 WB. He has also written original pilots for HBO and FX, for your spec script, map it out from beginning to end, Beginning Writing for the Half-Hour and articles for National Lampoon. and write a strong outline in proper script format. In the Spec II process, you learn how to identify and capture the tone, 3.0 units characters, dialogue, and themes of any one-hour This workshop guides you to write a solid draft spec drama series—the key to breaking into the field. Also script from your half-hour comedy outline and move as covered are the various genres (police procedurals, far ahead as you can in polishing it. You begin by medical, legal) and their specific rules; what’s popular reworking your outline to simplify your story, nail down in the current marketplace; and how to work within the the essence of your characters, focus and tighten special requirements of timeslots, outlets, and styles. scenes, create mood and pacing, and punch up dia- The course goal is to master the process of construct- logue from the blueprint you’ve created. You then move ing an airtight story and detailed outline so you are to the writing and polishing stage. On the business side, ready to write a script for any current show as quickly you deepen your knowledge of the current comedy and expertly as possible. All student projects must focus series marketplace and map out basic career building on current shows; no pilots. strategies. Students must bring a complete outline to kkk the first class. All student projects must focus on cur- 160 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971

SCRIPT X 422.3 SCRIPT X 422.2 Writing the One-Hour Pilot I Writing the Half-Hour Pilot II Available for 3.0 units 3.0 units Anyone who wants to work as a professional television This workshop guides you to write a solid draft of an writer has to be able to submit top-notch original mate- original pilot script from your half-hour outline created rial to agents and showrunners. In this fast-paced in a previous course. You start by reworking your story course, you take your idea for a one-hour TV series and idea and outline as needed, fixing story problems and UCLA Transfer Credit turn it into an outline, write intensively, and get feed- maximizing the comic potential. Special attention is paid back from the instructor and fellow participants every to refining the world, characters, tone, and story of your week. Throughout this process, you learn how to envi- pilot. You then move toward completing a first draft of c sion the world of your show, create characters and your script, working on scenes, dialogue, and action, Look for this icon to identify our transfer credit courses! conflict, build a storytelling engine, and nail down your until it captures your original vision and matches a show’s structure, tone, story, and act breaks. By the end network’s likely requirements. You must bring a com- Creative Writing: Short Story m Creative Writing: Poetry of course, you have strong act breaks, a full beat out- pleted story outline and first 10 pages to the first day line, and a critique of the first 10 pages of your original of class. Instructor: Wendy Oleson, MFA, PhD Instructor: Rick Bursky, MFA one-hour pilot script. Prerequisite(s): X 422.1 Writing the Half-Hour Pilot I, or Prerequisite(s): X 421.3 Beginning Writing for the One- equivalent, or department approval. Page 149. Page 153. Hour Spec I and X 421.4 Beginning Writing for the Reg# 371593 One-Hour Spec II, or equivalent, or department Fee: $695 approval. No refund after 13 Jan. Reg# 371590 mmOnline Fee: $665 Jan. 8-Mar. 17 No refund after 12 Jan. Enrollment limited to 15 students. ❖❖ Classroom Bill Taub, screenwriter; WGA and WGC member who 10 mtgs won a WGA Award for 101 Best Written TV Series For More Information Tuesday, 7-10pm, Jan. 7-Mar. 10 including Barney Miller and Hill Street Blues. Mr. Taub UCLA: School of Public Affairs Bldg. has written for Magnum P.I, Newhart, In the Heat of the (310) 825-9415 | writers.uclaextension.edu Enrollment limited to 15 students. Night, and others. He has written pilots for NBC, Colum- Richard Manning, MFA, television writer/producer and bia, Warner Bros, and Paramount. WGA member whose credits include Farscape; Star SCRIPT X 421.4 Intermediate Trek: The Next Generation, When Calls the Heart, SCRIPT X 422.4 Beginning Writing for the One-Hour Television Writing TekWar, Beyond Reality (which he co-created),Sliders, Writing the One-Hour Pilot II Spec II Fame, and Knightwatch, as well as features, TV pilots, 3.0 units 3.0 units Courses in this section are for students who have animation, webisodes, and a web series pilot. This workshop guides you to write a solid draft of an Mirroring the process that professionals undergo in current completed at least one draft of a spec script of Reg# 371591 original pilot script from your one-hour outline created episodic series production, this course guides you to write an existing series. The focus is on writing and Fee: $695 in a previous course. You start by reworking your story a solid first draft of your script and work on polishing it. You polishing a solid first draft of an original pilot. No refund after 13 Jan. idea and outline as needed, fixing story problems, and begin by refining your story idea and outline as needed Students also gain a better understanding of the mmOnline maximizing the drama potential. Special attention is and then write your script—focusing on capturing the business of writing for television. Jan. 8-Mar. 17 paid to refining the world, characters, tone, and story essence of the show through its act structure, plot and Enrollment limited to 15 students. of your pilot. You then move toward completing a first story, multiple storylines, characters, scenes, and dialogue. SCRIPT X 422.1 draft of your script, working on scenes, dialogue, and You also learn how to develop your career game plan and Erica Byrne, screenwriter and WGA member whose Writing the Half-Hour Pilot I numerous credits include episodes of La Femme Nikita; action, until it captures your original vision and matches the business of the one-hour drama. Students must bring 3.0 units a network’s likely requirements. You must bring a a complete outline to the first class. All student projects Nowhere Man; Silk Stalkings; Hunter; Knots Landing; Television executives and showrunners want to read and Walker, Texas Ranger. She received the UCLA completed story outline and first 10 pages to the first must focus on current shows; no pilots. original pilots that demonstrate your unique voice and day of class. Prerequisite(s): X 421.3 Beginning Writing for the One- Extension Outstanding Instructor Award in comedic sensibilities. This workshop shows you how to Screenwriting. Prerequisite(s): X 422.3 Writing the One-Hour Pilot I, or Hour Spec I. take your original comedy idea and develop a strong equivalent, or department approval. Reg# 371455 story, rife with memorable characters and even funnier SCRIPT X 422.6 Reg# 371594 Fee: $665 jokes. Breaking story in the style of a real writer’s room, Writing the One-Hour or Half-Hour Fee: $695 No refund after 13 Jan. you develop a compelling story, brainstorm, and support Pilot II No refund after 13 Jan. ❖❖ Classroom another’s vision. By the end of course, you have strong mmOnline 10 mtgs 3.0 units act breaks, a full beat outline, and a critique of the first This workshop guides you to write a solid draft of an Jan. 8-Mar. 17 Wednesday, 7-10pm, Jan. 8-Mar. 11 10 pages of your original half-hour pilot script. Enrollment limited to 15 students. UCLA: School of Public Affairs Bldg. original pilot script from your one-hour or half-hour Prerequisite(s): X 421.1 Beginning Writing for the Half- Laurence Walsh-Hodson, screenwriter; WGA member Enrollment limited to 15 students. outline created in a previous course. You start by Hour Spec I and X 421.2 Beginning Writing the Half- reworking your story idea and outline as needed, fixing who has written for such hit network shows as CSI: Donald Martin, screenwriter/producer and WGA mem- Hour Spec II, or equivalent, or department approval. story problems and maximizing the drama or comic Miami and NCIS. Ms. Walsh co-produced and wrote on ber whose feature credits include Shackles , Toto, Dim Reg# 371486 potential. Special attention is paid to refining the world, the critically acclaimed Syfy series The Dresden Files Sum Funeral, Isabelle, Milton’s Secret, and Never Too Fee: $665 characters, tone, and story of your pilot. You then move and Against the Wall. She has sold two shows that she Late. Mr. Martin has over 40 produced movies, mini- No refund after 12 Jan. toward completing a polished first draft of your script, co-created for Mar Vista Entertainment and FX. series and series for television. Currently he is writing ❖❖ Classroom working on scenes, dialogue, and action, until it cap- the CBC series Death in the Family. 10 mtgs tures your original vision and matches a network’s likely Reg# 371456 Tuesday, 7-10pm, Jan. 7-Mar. 10 requirements. You must bring a completed story outline Advanced Television Writing Fee: $695 UCLA: School of Public Affairs Bldg. and first 10 pages to the first day of class. No refund after 1 Jan. Enrollment limited to 15 students. Prerequisite(s): X 422.3 Writing the One-Hour Pilot I or Advanced-level courses are primarily workshop- mmOnline Jeffrey Kahn, MFA, Emmy award-winning writer; WGA X 422.1 Writing the Half-Hour Pilot I, or equivalent, or driven and are designed for students who are Jan. 8-Mar. 17 member, who co-created The Ben Stiller Show. Mr. department approval. well into their projects. Admission is by submis- Enrollment limited to 15 students. Kahn’s credits include All-American Girl, Dilbert, and sion only and the selection process is competi- Reg# 371592 tive. It is recommended that students take Erica Byrne, screenwriter and WGA member whose Drawn Together. He has an overall TV writing deal with Fee: $665 numerous credits include episodes of La Femme Nikita; Sony and Castle Rock and written pilots for all the major intermediate-level courses prior to submitting No refund after 12 Jan. their work. For instructions on submitting work, Nowhere Man; Silk Stalkings; Hunter; Knots Landing; networks, The Disney Channel, F/X, and Comedy ❖❖ Classroom and Walker, Texas Ranger. She received the UCLA Central. contact the Writers’ Program at (310) 825-9415 10 mtgs or go to writers.uclaextension.edu/continuing- Extension Outstanding Instructor Award in Reg# 371487 Tuesday, 7-10pm, Jan. 7-Mar. 10 Screenwriting. students. The submission deadline for winter is Fee: $695 UCLA: School of Public Affairs Bldg. Dec. 2 at 9am (PT). Visitors are not permitted in No refund after 13 Jan. Enrollment limited to 15 students. advanced-level courses. mmOnline Phil Kellard, TV writer and WGA member who was an Jan. 8-Mar. 17 executive producer on The Wayans Brothers and Martin, SCRIPT X 423.3 m ONLINE COURSE, page 5. Enrollment limited to 15 students. and a creative consultant for The Inspectors. He has Advanced Half-Hour Pilot Rewrite Claudia Grazioso, MFA, screenwriter and WGA mem- written for The Disney Channel, Showtime, and Syfy. He 3.0 units g HYBRID COURSE, page 5. ber whose credits include Are We There Yet?, starring has received an Emmy Award and the UCLA Extension If 90% of writing is rewriting, then 99% of television Ice Cube and Nia Long, Bring It On Again, and Christ- Outstanding Instructor Award in Screenwriting. writing is rewriting. And rewriting, for the most part, c WEB-ENHANCED COURSE, page 5. mas Bounty. Ms. Grazioso has written several pilots for means fixing story problems and maximizing the poten- ABC, Sony, Fox, HBO, Lifetime, and CBS, and television tial of a story idea. Story development is such a com- v ON-GROUND COURSE, page 5. movies for ABC Family. plex set of ideas, even for working television writers and TEXTBOOK REQUIRED executives, that probably half the episodes produced & each year need to be rethought in whole or part after C UC CREDIT, page 6. their table readings. And that is after weeks of the initial hard work of breaking the story and writing and Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 161 rewriting the script. In this workshop, the goal is to take your previously written half-hour scripts, both originals and specs, that ultimately did not fulfill their ambitions, and determine where they fell short and make the necessary changes so that each premise is fully realized. Reg# 371600 Fee: $785 No refund after 8 Jan. mmOnline Jan. 15-Mar. 24 Enrollment limited to 12 students. Visitors not ­permitted. $100 non-refundable. Not eligible for any discounts. ­Andrew Osborne, MA, screenwriter and WGA member whose indie film credits include On_Line, The F Word, and Apocalypse Bop. Mr. Osborne received an Emmy Award for the Discovery Channel program, Cash Cab. He has developed projects for Warner Bros. HBO, MTV, and Orion.

SCRIPT X 423.2 Advanced One-Hour Pilot Writing 3.0 units In today’s market, a good original pilot is an essential sample. Neither pure episodes nor stand-alone screen- plays, one-hour pilots nevertheless must have the feeling of both—all in 55-60 pages. In today’s market, a good original pilot is an essential sample. Neither pure episodes nor stand-alone screenplays, one-hour pilots nevertheless must have the feeling of both—all in 55-60 pages. This workshop guides you to develop a drama series premise that combines your original vision with a network’s likely requirements. From the idea to pilot story structure and finished script, your goal is to create a pilot that effectively establishes ongoing series elements while bringing your characters to life. Reg# 371595 Fee: $755 No refund after 9 Jan. ❖ Classroom 10 mtgs Thursday, 7-10pm, Jan. 16-Mar. 19 UCLA: School of Public Affairs Bldg. Enrollment limited to 12 students. Visitors not ­permitted. $100 non-refundable. Not eligible for any discounts. Matt Witten, MFA, WGA member who has served as a writer for Pretty Little Liars, Law and Order, and House, M.D. Mr. Witten has also written for CSI: Miami, Super- natural, Judging Amy, Medium, and Homicide: Life on the Street. Mr. Witten has also written pilots for ABC, MTV, and the CW.