Writers Program - Summer 2016 Catalog

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Writers Program
Enroll at uclaextension.edu or call (800) 825-9971
WRITERS PROGRAM
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Creative Writing General Interest

Fiction
Creative Nonfiction
Poetry
Publishing
Playwriting
Writing for the Youth Market
Online Creative Writing
Online Screenwriting
Screenwriting
Special Topics for Film & Television Writers
Feature Film Writing
Television Writing
The Art, Craft, and Business

of Being a Writer
A Free Lecture and Workshop Series to Celebrate the
Writers Programs 50th Anniversary
Space is limited. Enroll online or call (800) 825-9971 today.
Inspired to Write: How to Embrace
Your Creativity, Find Your Story, and
Ditch Your Inner Critic
March 5, 2016, 10am-1pm
UCLA Campus
Reg# 263196CA
Writers Tool Kit: How to Tell a Story
with Passion and Craft
May 21, 2016, 10am-1pm
Westwood
Upcoming Workshops
How to Become a Professional Film
and TV Writer TODAY
August 13, 2016, 10am-1pm
UCLA Campus
Publishing and Promoting Your Work
and Youin the Age of Social Media
November 5, 10am-1pm
UCLA Campus
Reg# 263424CA
Registration is now open for both.
Page 151.
For More Information

writers@uclaextension.edu | (310) 825-9415
Creative Writing
Choose the right course for you. For advisement on on-site creative writing courses, call
Sarah Lim at (310) 825-9416 or Katy Flaherty
at (310) 206-0951. Many creative writing
courses also are offered online; see page158.
General Interest:
Beginning & Novice Writers
These basic creative writing courses are for
students with little or no prior writing experience. Instruction is exercise-driven; the process of workshopping, where students are
asked to share and offer feedback on each
others work with guidance from the instructor, is introduced. These courses may be used
to fulfill Creative Writing certificate requirements; contact the Writers Program at (310)
825-9415 for details.
The Essential Beginnings of Fiction

Writing: An Introductory Workshop
X 401A English 2units

Do you aspire to write creatively, but dont know
where to start? This supportive workshop provides you
with many techniques to motivate and guide you. You
learn how to transform observation and personal
experience into imaginative prose, create dynamic
characters and dialogue, and write from different
points of view. By the end of the course, you will have
in hand a series of short sketches or a draft of a short
story, and key tools you need to write creatively.
Enrollment limited to 20 students. Internet access
required to retrieve course materials.
Reg# 264021CA
Through Apr 5: $359 / After: $395
Downtown Los Angeles:
109 UCLA Extension DTLA, 261 S. Figueroa St.
Thu 6:30-9:30pm, May 5-Jun 9, 6mtgs
No refund after May 9.
Aaron Shulman, MFA, fiction and nonfiction writer
whose work has been published in The Believer, The
American Scholar, The Los Angeles Review of Books,
The New Republic, The Literary Review, and The Dirty
Napkin, among others.
General Interest:
Special Subjects & Themes
Unless otherwise noted in the description,
courses in this section are open to students
of all levels who want to focus on a specific
area of study. These courses may be used to
fulfill Creative Writing certificate requirements; contact the Writers Program at (310)
NEW COURSE
True Fiction: Writing Stories Inspired

by Our Lives
X 400.03 English 2.5units

The old adage write what you know too often negates
the truth that a part of what we know is in our
imagination. It is the blending of our personal experiences and what we can imagine that helps to create
some of our most powerful narratives. In this eightweek intensive writing workshop, for beginner and
non-beginner alike, you study important elements such
as turning-point stories, the complexities of character
emotions, and the quest for organic conflict, all through
a series of in-class writing exercises. You learn to build
a firm foundation for your fiction, one amazingly rooted
in what you have actually lived. The goal of the workshop, whether youre writing drama or comedy, is to
find a deeper authenticity in your writing while completing several new works of short fiction. Enrollment
limited to 20 students. Internet access required to
retrieve course materials.
kkk
Reg# 264053CA
Through Mar 7: $419 / After: $460
Westwood: 320 1010 Westwood Center
Thu 11am-2pm, Apr 7-May 26, 8mtgs
No refund after Apr 11.
Steven Wolfson, MFA, award-winning playwright, and
founding member of The Mark Taper Forums Mentor
Playwrights Project. Mr. Wolfsons latest play, The
Absence of Wanting, premiered in Portland in 2012,
followed by its European premiere in Berlin. A WGA
member, Mr. Wolfson is the recipient of UCLA Extensions Outstanding Instructor Awards in both Creative
Writing and Screenwriting.
NEW COURSE
The Art of the Tell: Crafting Stories for

a Paperless Performance
X 432.77 Film & Television 2units

The tradition of oral storytelling goes back to the beginning of language. Early man would sit near his recent
invention, fire, and enthrall the clan with tales of his
harrowing adventures while hunting. And Mitochondrial
Eve would complain about her back-breaking, mindnumbing life of tedious gathering. Fast-forward c.
100,000 years and we are still telling stories. Our lives
are an anthology of stories. A new format, storytelling
performance, is popping up in cafs, on podcasts, and
in theaters: The Moth, Sit n Spin, Eat Your Words,
Public School, Two-Headed Beast, Risk! and dozens
more. This six-week course takes our primal need to
tell our stories and celebrates the simplicity of the form
(sans fire) and guides you to craft a compelling 1,500word story based on a real event. You focus particularly
on structure, language, dialogue, emotion, authenticity,
and performance. The final class session is a salon,
where you tell your stories to an invited audience of
friends and family and experience the thrill of telling
your tale, without reading it, live and in-person. You
dont need to be an actor; you need to tell a great story
in a dynamic way. Enrollment limited to 15 students.
Reg# 264358CA
Westwood: 121A Extension Gayley Center,
1145Gayley Ave.
Thu 7-10pm, Apr 7-May 12, 6mtgs
Lisa Medway, writer whose humorous prose has
appeared in print for more than 20 years, including a
biweekly award-winning column for Copley Newspapers.
Ms. Medway is the co-author of Me 101: A Workbook for
a Better Relationship (Warner Books). Ms. Medway is a
WGA member with extensive produced credits insitcoms
and in animation, and isthe recipient of a UCLA Extension Outstanding Instructor Award in Screenwriting.
Creative Writing:
Weekend Courses
2-Day
Finding Your Unique Voice:
A Writing Workshop
X 448.10A English 1.5units

Just as every human being has a unique personality,
every writer haspotentiallya unique voice through
which his/her vision may be best expressed. Designed
to help beginning and established writers discover/
develop that voice, this workshop includes exercises to
discover personal patterns of diction and imagery, dissolve blocks, recover lost memories, tap into the individual wellsprings of creativity, and explore personal
mythologies. You also study selected writers to determine what constitutes a style and read student works
in a supportive atmosphere. Through active and playful
class participation, you learn how to listen for your own
writing voice and let it emerge. Enrollment limited to
20; advance enrollment required.
kkk
Writers Program151

Save the Date!
Announcing
Writers Program
Publication Party
The Phyllis Gebauer

Scholarship in Writing
Thu, Jun 8, 7-9:30pm
This needs-based scholarship program is funded by the late Phyllis

Gebauer, a beloved Writers Program instructor who loved teaching
and was passionate about providing learning opportunities for those
who lack access.
(Doors open at 7pm; readings begin at 7:30pm.)
Skirball Cultural Center, 2701 N. Sepulveda Blvd.

Admission and parking are free; refreshments will be served.
Join us for spirited readings, book signings, refreshments, and the
opportunity to meet fellow writers.
Up to 10 scholars are named annually, and each of the recipients is

given the opportunity to enroll in 3 full-length Writers Program
courses during a 1-year period.
The featured readers are Writers Program instructors who have published
work within the past year.
Applications will be available in March.

(310) 825-9415 | writers.uclaextension.edu

Reg# 264039CA
Through May 11: $295 / After: $320
UCLA: 2278 School of Public Affairs Bldg.
Sat & Sun 9:30am-5pm, Jun 11 & 12, 2mtgs
No refund after Jun 10.
Mara Amparo Escandn, bestselling bilingual fiction
writer whose first novel, Esperanzas Box of Saints
(Santitos in Spanish), has been translated into 21 languages and made into a Sundance Festival Awardwinning film produced by John Sayles. Ms. Escandns
latest novel is Gonzlez & Daughter Trucking Co.
1-Day
FREE SEMINAR
Inspired to Write: How to Embrace

Your Creativity, Find Your Story, and
Ditch Your Inner Critic
700.01English
A free course celebrating the 50th anniversary of the
Writers Program.
Everyone has a storyand many people have multiple
rich, juicy, unique stories to tell. Pulitzer Prize-winning
author Wallace Stegner said that talent is more common than we think, that it is all over the place, and
almost everyone has some degree of it, and this UCLA
Extension Writers Program course gives you the inspiration and tools to tap into yours! Learn how to identify
and embrace your own creative process; find inspired
story ideasboth by delving inward and looking in
unexpected places; disempower that inner voice bent
on discouraging you; and engage in stimulating, fun,
and freeing exercises that just might be the start of a
piece of fiction, a poem, screenplay, or memoir. Open
to aspiring writers of all genres; bring a pen and paper
or laptop to participate in the writing exercises. Enrollment limited; no enrollment at the door.
Reg# 263196CA
Fee: $0
UCLA: 121 Dodd Hall
Sat 10am-1pm, Mar 5, 1 mtg
Enrollment deadline: Mar 4
Steven Wolfson, for credits see page 150.
FREE SEMINAR
Writers Tool Kit: How to Tell a Story

with Passion and Craft
700.02English
A free course celebrating the 50th anniversary of the
Writers Program.
No matter what kind of story burns within you, no matter if you want to see it on the screen or on the page,
it needs a strong central concept, three-dimensional
characters, a plot that keeps the audience wondering
What happens next?, and a vivid sense of the world
your characters inhabit. This course introduces you to
these key elements of storytelling, shows you how to
infuse your story with a combination of individual personal experience and universal truths, and provides you
with opportunities to experiment and experience the
thrill of giving voice to your vision through short inspiring writing exercises. Bring your passion and leave with
a mini tool kit of writing insights and strategies! Open
to aspiring writers of all genres. Enrollment limited; no
enrollment at the door.
Reg# 263424CA
Fee: $0
Westwood: 204 Extension Lindbrook Center
Sat 10am-1pm, May 21, 1mtg
Billy Mernit, MFA, screenwriter and novelist; WGA
member who is a story analyst for Universal Pictures
and the author of Writing the Romantic Comedy
(Harper/Collins) and Imagine Me and You (Shaye Areheart/Random House). Mr. Mernit is a recipient of the
UCLA Extension Distinguished Instructor Award and the
Outstanding Instructor Award in Screenwriting. He is
also a contributing author to Cut to the Chase (Gotham
Books/Penguin).
Writing that Fine Line:

A Prose Poem One-Day Workshop
786.1English
Whats the difference between the prose poem and a
piece of short fiction? When should the poetic line give
way to the poetic sentence? These are just some of the
questions that are answered in this workshop on the
prose poem. Other topics include imagery, metaphor,
repetition, rhyme (yes, there could be rhyme in a prose
poem), surrealism, and prose poem as fable. These give
you a new understanding of the prose poem and a tool
kit to draw upon for continued writing. Throughout the
day, you put your new insights into action as you
receive writing prompts from which to write your own
prose poems in class. Practitioners of the art are discussed: Charles Baudelaire, Charles Simic, Nin
Andrews, Pierre Reverdy, Peter Johnson, and Russell
Edson, to name a few. You also receive a bibliography
of prose poem books to guide your continued engagement in the form. Enrollment limited to 20; advance
enrollment required.
Reg# 264049CA
Sat 9:30am-5pm, Apr 9, 1mtg
Rick Bursky, MFA, poet and author of the poetry collections Im No Longer Troubled by the Extravagance
(BOA Editions, forthcoming in 2015); Death Obscura
(Sarabande Books); The Soup of Something Missing,
which won the Dorothy Brunsman Prize; and The Invention of Fiction. Mr. Burskys work has appeared in
American Poetry Review, Iowa Review, Harvard Review,
Black Warrior Review, and Prairie Schooner.
Deadline to submit materials is June 27.
Fiction I
Courses in this section are recommended for
students with some writing experience.
Instruction is a mix of lecture and workshopping. Under the instructors close guidance
and in a supportive environment, students
share and offer feedback aimed at assessing
their works strengths and areas for
improvement and fostering creative growth.
Those new to writing might consider courses
listed under General Interest: Beginning and
Novice Writers.
Introduction to Short Fiction Writing

It is said that all of us have locked inside at least one
good story to tell. Through lectures on craft, short writing exercises, assignments, and discussion, you learn
how to tell yours. Topics include plot, point-of-view,
setting, description, conflict, characterization, dialogue,
tension, rewriting, and submission strategies. The
course goal is to draft and revise at least one short
story. This course is a prerequisite for students who are
continuing in the short fiction sequence. Enrollment
Reg# 264026CA
Tue 7-10pm, Apr 5-Jun 14, 10mtgs
(no mtg 5/31)
Marisa Matarazzo, MFA, fiction writer whose book,
Drenched: Stories of Love and Other Deliriums, was
published by Soft Skull Press, and whose stories have
appeared in Unstuck, Hobart, Faultline, and FiveChapters. A graduate of the UC Irvine Writers Program, Ms.
Matarazzo is the recipient of several awards and fellowships including the Wallace Prize, the Elmore A.
Willets Prize, and the Strauss Fellowship.
Creative Writing: Short Story
XL 137 English 5units c

Available for UCLA transferable credit, this workshop
covers the key elements of fiction writing, including
plot, characterization, setting, point-of-view, and
various story development techniques, as well as
publication markets. Your goal is to complete or
rewrite three stories of average length. Enrollment
kkk
Reg# 264320CA
Through Feb 28: $615 / After: $675
Mon 7-10pm, Mar 28-Jun 13, 12mtgs
(nomtg 5/30; 1mtg to be arranged)
No refund after Mar 30.
Michael Buckley, MFA, fiction writer and author of the
short story collection, Miniature Men. Mr. Buckleys
work has appeared in Alaska Quarterly Review, The
Best American Non-Required Reading, The Southern
California Review, Rip Rap, Watermark, and Spot Literary Magazine, among others. He has been nominated
for a Pushcart Prize twice.
Reg# 264319CA
Westwood: 208 Extension Lindbrook Center
Wed 6:30-9:30pm, Mar 30-Jun 15, 12mtgs
Stephen Cooper, PhD, MFA, NEA Fellow whose short
stories have appeared in Watershed, .Cent, American
Fiction, Hot Type, and The Threepenny Review, among
other publications. A professor of English at Cal State
Long Beach, Dr. Cooper is the author of Full of Life: A
Biography of John Fante and editor of The John Fante
Reader, both included among the Los Angeles Times
Best Books of the Year.
Novel Writing I:
Introduction to Novel Writing
X 462.71 English 3units

That novel is inside you waiting to emerge, but knowing how and where to start can be daunting. This
course provides you with weekly assignments, group
interaction, and instructor feedback to help you explore
various methods of writing your first novel while learning the key craft points of plot, structure, characterization, point-of-view, sense of place, and voice. The goal
is to complete the first chapter of your novel by
establishing an intimacy with your characters as you
artfully shape their journey, and to develop an overall
concept to guide you through your story. Required for
students considering the long fiction sequence. Enrollment limited to 15 students. Internet access required
to retrieve course materials.
Reg# 264027CA
UCLA: 3116 Rolfe Hall
Steve Sohmer, PhD, MA; writer whose collection, The
Way It Was, was chosen by The New York Times as one
of the 20 best fiction books of the year. Mr. Sohmers
short fiction has been published in The Southern
Review and Modern Occasions, and his novels are
Favorite Son and Patriots.
152
Writers Program

Reg# 264031CA
UCLA: 166 Royce Hall
Melanie Thorne, MA, award-winning author of the novel
Hand Me Down (Dutton/Plume), named a Kirkus
Reviews Best Fiction Book. Ms. Thornes short fiction
and nonfiction have appeared in Global City Review,
Susurrus, and The Nervous Breakdown, among others.
She was awarded the Maurice Prize in Fiction, the Alva
Englund Fellowship, and a Hedgebrook residency, and
was a 2014 PEN Center USA Emerging Voices Mentor.
Success!
The Writers Program has been an essential
andintegral part of my growth in becoming a
writer, allowing me to take chances and learn
different forms and styles. Most importantly,
my instructors and classmates have offered
encouragement and criticism to create the
stories Ive always dreamed of writing.
Jake Gerhardt, Writers Program student
and author of Me & Miranda Mullaly and
Me & My Future Ex-Girlfriend (Viking
Books for Young Readers, forthcoming)
NEW COURSE
Writing the Popular Novel

You have a concept for a novel you think would make
a great and commercial page-turner. But how to
fashion a story that will keep a reader hooked right up
to the end? This course guides you in the elements of
writing a vivid commercial novel: from developing both
an opening that grabs the reader and a compelling
voice, through the essentials of devising characters
that really pop, crafting effective dialogue, and forming
a well-structured plot with unexpected, yet believable,
twists. You examine the art of dramatizing wherever
possible, both in narrative and dialogue; the importance of using specific, rather than generic, detail; as
well as the role of foreshadowing and cliffhangers in
keeping pages turning. There are also exercises to
develop ear, eye, and point of view, and interactive
student participation. The goal is that by the end of the
course, you will have the beginnings of a novel that
could have a viable niche in the current publishing
market. Enrollment limited to 15 students. Internet
access required to retrieve course materials.
Reg# 264061CA
Thu 7-10pm, Apr 7-Jun 9, 10mtgs
Lindsay Maracotta, novelist and screenwriter whose
11 books include the novels The Producers Daughter
(Crooked Lane Books, 2015) and The Dead Hollywood
Moms Society, which was adapted into a Hallmark
Channel movie. Ms. Maracottas books have been
translated into nine languages, and include bestsellers
in both hardcover and mass market paperback.
Fiction II
These intermediate-level courses are designed
for students who have fulfilled the prerequisites stated in each description. Instruction
includes lectures as appropriate, but focuses
on workshopping. Students continue to share
and offer feedback as they move to deeper
levels of reflection and mastery.
Writing the Short Story:

Intermediate Workshop
X 461 English 3units

Focusing on close textual analysis and intensive writing
practice, you create two short stories and revise one
in this 10-week workshop. Brief weekly lectures on
technique, analysis of published stories, and in-depth
instructor and peer critique develop and deepen your
understanding of the art and craft of short story writing. Strategies for approaching the marketplace are
Instructions for Submitting to an AdvancedLevel Course
Novel Writing V:
A Continuing Writers Workshop
Fiction III
You too can achieve your writing goals.

writers@uclaextension.edu | (310) 8259415
A manuscript submission is required for these

advanced-level workshops. At this level,
courses are primarily workshop-driven. It is
recommended that students take courses at
the Fiction II level prior to submitting their
work to an advanced-level course.
the first five pages of your novel, all double-spaced, for

the first class. Prerequisite: X462.71 Novel Writing I,
X446.7A Novel Writing II, and X446.7C Novel Writing
III; or equivalent. For instructions on submitting a writing
sample see page152. Enrollment limited to 12 students. Visitors not permitted. Restricted course; call
(310) 825-9416 for information regarding the application process. Web enrollments automatically generate
a Permission to Enroll request. Internet access
Reg# 264322CA
Fee: $699
$100 nonrefundable; no refund after Apr 5.
Linzi Glass, author of the award-winning novel The
Year the Gypsies Came (Henry Holt), which was nominated for the U.K. Carnegie Medal in Literature and
voted a Best Book for Young Adults by the American
Library Association. Ms. Glass novel Ruby Red was
shortlisted for the Carnegie Medal in Literature, and her
novel Finding Danny was published by Harper Collins/
Walden Pond Press and Scholastic Books.
Jake Gerhardt
also discussed. Prerequisite: Two fiction writing

courses or departmental approval. Enrollment limited
to 15 students. Internet access required to retrieve
course materials.
Reg# 264029CA
Ben Loory, MFA, author of the collection Stories for
Nighttime and Some for the Day (Penguin), winner of
the 2012 Nobbie Award for Book of the Year, and the
childrens book The Baseball Player and the Walrus (Dial
Books for Young Readers, 2015). Mr. Loorys stories
have been published in The New Yorker, The Antioch
Review, Gargoyle Magazine, and The Rattling Wall, and
performed on NPRs This American Life.
Novel Writing II
X 446.7A English 3units

Armed with your overall concept and first chapter, you
continue to develop your knowledge of craft, writing
scenes using characters and situations from the
projected novel and workshopping your in-progress
work. Mini-lectures on the art of the novel, intuitive
creative process, and conventional vs. non-conventional approaches to novel structure also are covered.
The goal is to complete the next 50 pages of your
novel. Prerequisite: X 462.71 Novel Writing I, or
equivalent, or departmental approval. Enrollment
Reg# 264030CA
Wed 7-10pm, Apr 13-Jun 15, 10mtgs
Tony DuShane, author of the novel Confessions of a
Teenage Jesus Jerk. Mr. DuShanes work has
appeared in Mother Jones, The Believer, Penthouse,
The Bold Italic, SFGate.com, and The Rumpus.net,
among many others. He is a columnist at the San
Francisco Chronicle.
Novel Writing III: Works-in-Progress
X 446.7B English 3units

For those with at least 50 pages of a novel-in-progress,
this workshop guides you to generate at least 50 new
pages as well as learn essential self-editing techniques,
with the instructor and peers reviewing each participants project in detail. Refinements of character,
structure, emotional content, and the development of
the writers voice also are explored. The goal is to
produce a substantial portion of your novel. Prerequisite: X462.71 Novel Writing I and X446.7A Novel
Writing II, or equivalent, or departmental approval.
To submit your work for advanced-level courses, visit

uclaextension.edu/wpsubmit. You will be asked to send
the following materials electronically: an application
form, your writing sample, and cover letter. The submission deadline for spring is February 29 at midnight
(Pacific Time). All applicants will be notified regarding
their enrollment at least two weeks prior to the first day
of class. If you are accepted, you will be required to
enroll at that time; full payment of course fees are due
upon acceptance. The Writers Program is not responsible for submissions lost due to Internet or mechanical
failure. No comments or critiques are provided on student submissions. Occasionally submission deadlines
are extended; contact the Writers Program office at
(310) 825-9415 for the most up-to-date information.
The Art of the Short Story:

Advanced Workshop

The short story, one of the most challenging of all literary forms, requires the precision and imagistic intensity
of poetry combined with novelistic elements of structure, setting, and characterization. This workshop helps
you to realize your fictional intentions through detailed
written critiques and to prepare your stories for publication in targeted markets. The course goal is to complete
two new stories and one revision. Prerequisite: Writing
sample plus a one-page cover letter stating your writing
background and goals for this course is required; for
instructions on submitting a writing sample see
page152. Enrollment limited to 12 students. Visitors
not permitted. Restricted course; call (310) 825-9416
for information regarding the application process. Web
enrollments automatically generate a Permission to
Enroll request. Internet access required to retrieve
course materials.
Reg# 264323CA
Fee: $699
Lou Mathews, MFA, whose stories have been published in New England Review, Tin House, Black Clock,
and nine fiction anthologies. A novelist (LA Breakdown)
and journalist, Mr. Mathews has received a Pushcart
Prize, a Katherine Anne Porter Prize, and an NEA Fiction
Fellowship, and is a recipient of the UCLA Extension
Outstanding Instructor Award in Creative Writing.
Novel Writing IV: Advanced Workshop
X 446.7C English 3units

For writers with at least 100 pages of a novel, this
advanced workshop focuses on elements of technique
and vision necessary for a work to be considered
complete. You receive detailed instructor and peer critiques of manuscript chapters and their relation to the
overall work, including a review as needed of the effective use of voice, tone, mood, imagery, and metaphor.
A major goal of this course is to provide you with all the
self-editing skills you need to polish and revise your
entire novel. Please prepare a one-page synopsis and

For students who have completed Novel Writing IV, this
intensive workshop is specifically directed toward refining an advanced manuscript into a publishable novel.
The focus is on structural and thematic aspects and the
maintenance of the authors unique voice. You work
closely with your peers and the instructor to assess
portions of individual manuscripts. Emphasis is given to
developing and perfecting self-editing techniques. The
overall goal of the course is for each novel to reach a
professional level appropriate for eventual publication.
Prerequisite: At least one quarter of X446.7C Novel
Writing IV: Advanced Class in Writing a Novel the Professional Way, or equivalent. A three-page writing
sample is required; for instructions on submitting a
writing sample see page152. Enrollment limited to 12
students. Visitors not permitted. Restricted course; call
a Permission to Enroll request. Internet access
Reg# 264032CA
Fee: $699
$100 nonrefundable; no refund after Mar 29.
Mark Sarvas, writer, author of the novel Harry, Revised
(Bloomsbury), a finalist for the SoCal Independent
Booksellers Associations Fiction Award, and the forthcoming Memento Park (Farrar, Straus & Giroux). Mr.
Sarvass literary blog, The Elegant Variation, was a
Forbes magazine Best of the Web pick, and a Los
Angeles Magazine Top L.A. Blog.
Creative Nonfiction I
improvement, and fostering creative growth.
Novice Writers.
Creative Alchemy:
Finding and Writing Life Stories
You Were Meant to Tell

This course is for anyone who has a story from real
life that needs to be told. Sometimes your story is
about a person, place, thing, or some concealed part
of yourself, a remembered time or event, or even
something that will happen as you give account to its
unfolding. Over the span of this course, you identify this
element of your storys core fascination and acquire the
skills to tell it, including researching and interviewing
Writers Program153

techniques; cultivating your own unique writing voice;
and constructing your story into a combination of episodes that advance and present it to best dramatic and
imaginative effect. Finally, you investigate possible
venues where each story might most effectively be
presented. Enrollment limited to 20 students. Internet
Reg# 264046CA
Harry Youtt, fiction writer and Pushcart Prize-nominated poet whose collections include Ill Always Be from
Lorain and Outbound for Elsewhere. Mr. Youtt is on the
editorial board of the international Journal of Consciousness, Literature and the Arts, and is a co-recipient of the UCLA Extension Distinguished Instructor
Award and the UCLA Extension Outstanding Instructor
Award in Creative Writing.
Judith Prager, PhD, fiction and nonfiction writer whose
novels include The Newman Factor and Black Water.
Dr. Pragers nonfiction includes Verbal First Aid (Penguin
Berkley), The Worst Is Over: What to Say When Every
Moment Counts, and Journey to Alternity. She is a corecipient of the UCLA Extension Distinguished Instructor
NEW COURSE
True Stories: Shaping Life into Art

At the end of A Portrait of the Artist as a Young Man,
Stephen Daedalus, the bristling artist-hero, sets out to
recreate life out of life! This ecstatic mission was also
Joyces, of course, and now its ours. In this creative
nonfiction class, perfect for writers of all levels, we
focus on the re-creation aspects of narrative nonfiction;
in other words, the craft aspects. How do you to take
the raw material of lived experience and bend it into
something shapely and satisfying, something living?
And how do you accomplish this without bending the
truth too far? We spend the first half of the course
practicing storytelling techniques like description and
scene-setting, dialogue, character (in its nonfiction
sense), exposition, etc., all of this building to a complete
draft of a personal essay (10-20 pages). Along the way
we take avid notes on the shaped true stories of masters like Saul Bellow, Joan Didion, Annie Dillard, Francine Prose, David Sedaris, Virginia Woolf, and
Montaignea potent mix of old and new to inspire and
instruct you! Enrollment limited to 20 students. Internet
Reg# 264055CA
Ryan McIlvain, MFA, author of Elders: A Novel (Hogarth/
Random House). Mr. McIlvains stories and essays have
appeared in The Paris Review, The Believer, Potomac
Review, Chattahoochee Review, Post Road, The Rumpus, and FiveChapters, among others. A former Stegner
Fellow in Fiction at Stanford University, his second novel
is forthcoming from Hogarth/Random House.
Writing the Personal Essay

Personal Essay is a broad term that encompasses
humorous essays, opinion pieces, and mini-memoirs,
but which always details the writers journey through a
specific experience. This workshop teaches aspiring
personal essayists how to be a compelling first-person
narrator and employ craft elements such as theme,
character development, voice, pacing, scene-setting,
and exposition to tell their stories. The goal is to complete at least one personal essay (600-2,500 words)
and develop material for future essays. Enrollment
kkk
Reg# 264329CA
Mon 7-10pm, Apr 4-Jun 13, 10mtgs
(nomtg 5/30)
Antonia Crane, MFA, author of the memoir Spent and
senior editor of The Citron Review and Word Riot. Ms.
Cranes writing has appeared in The New York Times,
Playboy, Cosmopolitan Magazine, The Rumpus, Salon,
and The Heroin Chronicles, and on CNN.com, among
many others. She is a two-time winner of The Moth
Slam, and has appeared on This Is Life with Lisa Ling
and the WTF with Marc Maron podcast.
The Art of Creative Nonfiction

This course explores the unlimited possibilities of creative nonfiction, which embraces methods of creative
writing as diverse as personal essay and memoir.
Working with the same techniques as fiction and poetry,
including imagination, empathy, character development,
structure, and plot, you are guided to transform an
episode of truth into a complete and artful narrative.
This course includes several readings of short excerpts
from a variety of nonfiction authors. The course goal is
to produce one complete and revised narrative essay,
as well as additional material to develop further. Enrollment limited to 20 students. Internet access required
Reg# 264332CA
Wed 6:30-9:30pm, Apr 13-Jun 15, 10mtgs
Alison Singh Gee, MA, memoirist and nonfiction writer
who has written for Marie Claire, InStyle, International
Herald Tribune, and the Los Angeles Times. Ms. Gee
was a staff writer and correspondent for People magazine and her memoir, Where the Peacocks Sing (St.
Martins Press), was named a National Geographic
Traveler Book of the Month. She is the recipient of
Amnesty Internationals Feature Writing Award.
Introduction to Writing the Memoir

A memoir is a book-length narrative that is told from
the writers point of view and that captures a meaningful slice of the writers life. If you have a story to tell and
would like to figure out how best to tell it, this course
helps you get started. In-class writing exercises help
you identify significant moments from your life, decide
on a workable structure for telling your story, and
determine what, exactly, your story is about. You also
focus on the habits and tools you need to establish and
maintain a writing practice and read excerpts from a
range of memoirs for inspiration and guidance. By the
end of the course, you have a title for your memoir, a
short sound-bite to describe it, a summary of the whole
story, and a draft of at least one chapter. Enrollment
Reg# 264488CA
Liz Stephens, PhD, author of the memoir The Days Are
Gods (University of Nebraska Press). Ms. Stephens
essays appear in Brief Encounters: An Anthology of
Short Nonfiction (W.W. Norton, 2015), and Dirt: An
Anthology (New England University Press, 2015). She
has served as managing editor and contributor to Brevity: A Journal of Concise Nonfiction and has written
extensively on current nonfiction craft and ethics.
Available for
UCLA Transfer Credit
Instructor:
Stephen Cooper, MFA, PhD
Page 151.
Instructor:
Michael Buckley, MFA
Page 151.
Creative Writing: Poetry
Instructor:
To be announced
Page 154.
Creative Writing: Short Story m
Instructor:
Wendy Oleson, MFA, PhD
Page 156.
Creative Writing: Poetry m
Instructor:
Rachel Kann, MFA
Page 157.
The Claire Carmichael

Scholarship in Novel Writing
The Writers Program Congratulates Our
Inaugural Recipients!
Pamela Lee Blankenship, Agoura Hills, CA
Jennifer Carson, Santa Monica, CA
Maria Dadouch, Damascus, Syria
Rayna Jensen, Los Angeles, CA
Erik Rodgers, Los Angeles, CA
Michael Sudmeier, Jackson, WY
Each recipient is given the opportunity to enroll in 3 full-length Writers

Program courses during a 1-year period (some restrictions apply). At
the close of the program, they have the opportunity to submit their
best 75-100 pages for judging, and one scholar is chosen to receive a
two-month, one-on-one mentorship with Claire.

writers.uclaextension.edu/the-claire-carmichael-scholarship-in-novel-writing
154
Writers Program
Creative Nonfiction II
Creative Nonfiction: Two-Day

includes lectures as appropriate but focuses
How to Write a Million-Dollar

Proposal: A Two-Saturday Workshop
Intermediate Memoir Writing

Designed for the serious writer committed to participating in a structured writing regimenas well as engaging in ongoing critiques and craft discussionsthis
course guides you to examine key issues in your work,
create an involving storyline out of your life experience,
and cast yourself as a compelling character readers
want to follow. You also develop the self-editing skills
you need to polish and revise your material at a level
appropriate to submit to publishers. Includes discussion
of the current marketplace. The course goal is to complete 50 well-crafted pages of your project. Prerequisite: One previous creative nonfiction or memoir writing
course or permission of the instructor. Enrollment limited to 15 students. Internet access required to retrieve
course materials.
Reg# 264486CA
Tue 6:30-9:30pm, Apr 12-Jun 14, 10mtgs
Shawna Kenney, MFA, award-winning author of the
memoir I Was a Teenage Dominatrix (optioned for film
by FX), co-author of Imposters, and editor of the anthology Book Lovers. Ms. Kenneys work has been published in The New York Times, Playboy, Ms, Narratively,
Bust, Creative Nonfiction, The Rumpus, and The Florida
Review, among others.
Creative Nonfiction III

advanced-level workshops. It is recommended that students take courses at the
Nonfiction II level prior to submitting samples.
At this level, courses are primarily workshopdriven. For complete instructions on submitting a sample, see Fiction III on page152.
Advanced Nonfiction Workshop

Designed for writers with either a memoir-in-progress
or personal essays in hand, this advanced workshop
focuses on helping you polish your writing and find its
narratives energy and unique voice. Marketing strategies as well as the best of current memoirs and essays
are also discussed. The course goal is to have two
memoir chapters and a book proposal, or two short
essays, ready to submit to publishers. Prerequisite: One
course in memoir or the personal essay. A three-page
writing sample and a short paragraph describing your
work-in-progress is also required; for instructions on
submitting writing samples see page152. Enrollment
limited to 12 students. Visitors not permitted. Internet
access required to retrieve course materials. Restricted
course; call (310) 825-9416 for information regarding
the application process. Web enrollments automatically
generate a Permission to Enroll request.
Reg# 264335CA
Fee: $725
Wed 10am-2pm, Apr 13-Jun 1, 8mtgs
Barbara Abercrombie, author of 15 books, including
Courage and Craft: Writing Your Life into Story, A Year
of Writing Dangerously, and Kicking in the Wall. Ms.
Abercrombie is a recipient of the UCLA Extension Distinguished Instructor Award and the UCLA Extension
Outstanding Instructor Award in Creative Writing.

Whether youre in the midst of penning a personal
narrative, a how-to, or a treatise on your area of expertise, you need a book proposal to get in the door at any
traditional publisher. This interactive workshop connects
you with one of the industrys top insiders, whos never
written a proposal that hasnt soldand for big bucks
and gives you everything you need to know to take your
idea to the next level. Topics include the seven-step
magic formula to crafting winning proposals; what
agents respond to, and what you need to approach
them; a peek into million-dollar proposals by first-time
authors; the how-tos of building a provocative table of
contents and creating the right architecture for a book
that keeps readers wanting more; the secrets to selling
yourself and developing a compelling marketing plan;
and whether or not independent (self) publishing is the
way to go for you. By the end of the course, you understand the inner workings of the publishing industry and
know exactly where your potential stands, with all of
the materials you need in draft form to move forward.
For some, this means polishing your perfect pitch package and submitting it to an agent or publisher; for
others, this entails positioning yourself to self-publish
successfully. Enrollment limited to 20; advance
Reg# 264333CA
Sat 9:30am-5pm, Apr 9 & 16, 2mtgs
Kristin Loberg, New York Times bestselling writer and
editor specializing in proposals and book collaboration.
Ms. Lobergs titles include Payback Time (Crown), Mom
Energy (Hay House), The Fiber35 Diet (Free Press), The
Water Secret (Wiley), No Matter What (Grand Central),
The Vitamin D Solution (Hudson Street Press), and The
End of Illness (Free Press), among numerous others.
Poetry
Creative Writing: Poetry

combines writing assignments with an exploration of
contemporary poetry. You look at forms ranging from
the sonnet to prose poems, and develop your own
voice. Each week the work of a contemporary poet is
discussed and writing assignments are critiqued. The
course goal is to finish with a number of polished and
completed poems, and understand the demands and
rewards of living an inspired life through poetry. Enrollment limited to 20 students. Internet access required
Reg# 264334CA
Thu 7-10pm, Mar 31-Jun 16, 12mtgs
Instructor to be announced
Poetry: Weekend Course

Writing that Fine Line:
A Prose Poem One-Day Workshop
786.1English
Whats the difference between the prose poem and a
piece of short fiction? When should the poetic line give
way to the poetic sentence? These are just some of the
questions that are answered in this workshop on the
prose poem. Other topics include imagery, metaphor,
repetition, rhyme (yes, there could be rhyme in a prose
poem), surrealism, and prose poem as fable. These give
you a new understanding of the prose poem and a tool
kit to draw upon for continued writing. Throughout the
day, you put your new insights into action as you
receive writing prompts from which to write your own
prose poems in class. Practitioners of the art are discussed: Charles Baudelaire, Charles Simic, Nin
Andrews, Pierre Reverdy, Peter Johnson, and Russell
Edson, to name a few. You also receive a bibliography
of prose poem books to guide your continued
engagement in the form. Enrollment limited to 20;

advance enrollment required.
Reg# 264049CA
Sat 9:30am-5pm, Apr 9, 1mtg
Rick Bursky, MFA, poet and author of the poetry collections Im No Longer Troubled by the Extravagance
(BOA Editions, forthcoming in 2015); Death Obscura
(Sarabande Books); The Soup of Something Missing,
which won the Dorothy Brunsman Prize; and The Invention of Fiction. Mr. Burskys work has appeared in
American Poetry Review, Iowa Review, Harvard Review,
Black Warrior Review, and Prairie Schooner.
Playwriting
NEW COURSE
Take the Stage: A Workshop for Film

and TV Writers Looking for an Edge

Beau Willimon (creator and show runner, House of
Cards), Aaron Sorkin (Steve Jobs, The Social Network),
and Sheila Callaghan (writer and producer, Shameless)
are among countless television and film writers who got
their start in the theatre, and who continue to work in
both mediums. Agents and producers often read plays
with the goal of finding a writer who excels at character-driven storytellingwhich is at the heart of theatre.
In this course, you learn tools to deepen your characters, expand on new plot ideas, and most importantly,
find your own unique voice as a writer. You first explore
the fundamentals of play construction and writing
techniques, writing frequently to master the art and
craft of playwriting, culminating in a one-act play or one
act of a play. You then learn to apply your new-found
skills to your own film or TV script, and have the best
ten pages ready to be performed by actors in the final
class. Course may be taken as a certificate program
elective. Enrollment limited to 20 students.
Reg# 264355CA
Laurel Ollstein, MFA, award-winning playwright whose
play Cheese was published by Original Works Publishing. Ms. Ollsteins work has been produced around the
country, including Esthers Moustache, Blackwells
Corner, Insomniac, and The Dark Ages, among others.
Her essays have been published by Freshyarn.com and
Tiny Lights: A Journal of Personal Narrative.
Publishing
How to Write a Million-Dollar
Proposal: A Two-Saturday Workshop

Whether youre in the midst of penning a personal
narrative, a how-to, or a treatise on your area of expertise, you need a book proposal to get in the door at any
traditional publisher. This interactive workshop connects
you with one of the industrys top insiders, whos never
written a proposal that hasnt soldand for big bucks
and gives you everything you need to know to take your
idea to the next level. Topics include the seven-step
magic formula to crafting winning proposals; what
agents respond to, and what you need to approach
them; a peek into million-dollar proposals by first-time
authors; the how-tos of building a provocative table of
contents and creating the right architecture for a book
that keeps readers wanting more; the secrets to selling
yourself and developing a compelling marketing plan;
and whether or not independent (self) publishing is the
way to go for you. By the end of the course, you understand the inner workings of the publishing industry and
know exactly where your potential stands, with all of
the materials you need in draft form to move forward.
For some, this means polishing your perfect pitch package and submitting it to an agent or publisher; for
others, this entails positioning yourself to self-publish
successfully. Enrollment limited to 20; advance
kkk
Reg# 264333CA
Sat 9:30am-5pm, Apr 9 & 16, 2mtgs
Kristin Loberg, New York Times bestselling writer and
editor specializing in proposals and book collaboration.
Ms. Lobergs titles include Payback Time (Crown), Mom
Energy (Hay House), The Fiber35 Diet (Free Press), The
Water Secret (Wiley), No Matter What (Grand Central),
The Vitamin D Solution (Hudson Street Press), and The
End of Illness (Free Press), among numerous others.

Writing Picture Books for Children

Five hundred words. Five hundred words to grab your
readers by their overalls, enthrall them with a story, and
leave them panting on the playroom floor, begging,
Again! But how? Designed for beginning picture book
writers, this fun, fast-paced course surveys the genres
breathtaking possibilities, exploring its art, craft, and
publishing practices (what are editors looking for?). You
compare a wide variety of picture book structures,
characters, and themes, and learn how to use voice,
poetic and muscular language, point-of-view, repetition,
and more. Through a balance of lecture, writing assignments, feedback, and the 10 books you read each
week, you gain a clear sense of your own writing
strengths, the ability to give and receive valuable critiques, and knowledge of the submission processall
in a nurturing community of writers. By the end of the
course, you have completed a draft of at least one
picture book and are bursting with more ideas, because
you understand the art and the business of writing
picture books for children. Bring writing materials and
one favorite picture book to the first class. Enrollment
Reg# 264050CA
Wed 10am-1pm, Apr 20-May 25, 6mtgs
April Halprin Wayland, author of seven picture books,
including Its Not My Turn to Look for Grandma! (Knopf)
and New Year at the Pier: A Rosh Hashanah Story (Dial),
named Best Jewish Picture Book and winner of the
Sydney Taylor Gold Book Award. Ms. Wayland won the
Myra Cohn Livingston Award for Girl Coming in for a
Landing: A Novel in Poems (Knopf) and has won seven
poetry awards from the SCBWI.
Writing the Young Adult Novel

The young adult novel is one of the fastest-growing
genres in publishing. Compelling stories with fascinating, sympathetic young characters, and written in direct,
strong, often lyrical prose, are being snatched up by
publishers reluctant to pay for other books in this challenging economy. In a supportive and inspiring environment, you explore the elements of the YA novels plot,
character, language, setting, theme, and voiceall
enhanced by in-depth lectures, questions, discussions,
manuscript workshopping, and exercises. Also covered
is the current marketplace for young adult fiction,
including increasing opportunities to get work optioned
for film, and to cross over to older audiences. You leave
the class with a complete first chapter and rough outline of your entire book, as well as the tools to continue
writing on your own. Enrollment limited to 20 students.
Internet access required to retrieve course materials.
kkk
Writers Program155

Reg# 264052CA
Wed 11:30am-2:30pm, Apr 13-Jun 15,
10mtgs
Francesca Lia Block, author of Love in the Time of
Global Warming and many bestselling and awardwinning novels including The Elementals; Dangerous
Angels: The Weetzie Bat Books; Necklace of Kisses;
Roses and Bones; Quakeland; The Hanged Man; Pretty
Dead; The Frenzy; and Wood Nymph Seeks Centaur: A
Mythological Dating Guide. Ms. Block received the
Margaret A. Edwards Lifetime Achievement Award.
Online Courses
Choose the right course for you. For advisement on online creative writing courses call
Phoebe Lim at (310) 825-0107, or Nutschell
Windsor at (310) 794-1846. For online screenwriting courses call Jeff Bonnett at (310) 2061542, or Chae Ko at (310) 206-2612.
Creative Writing
General Interest:
Beginning & Novice Writers
These basic creative writing courses are for
students with little or no prior writing experience. Instruction is exercise-driven; the process of workshopping, where students are
asked to share and offer feedback on each
others work with guidance from the instructor, is introduced. These courses may be used
to fulfill Creative Writing certificate requirements; contact the Writers Program at (310)
The Essential Beginnings

of Fiction Writing:
An Introductory Workshop m

Do you aspire to write creatively but dont know where
to start? This supportive workshop provides you with
many techniques to motivate and guide you. You learn
how to transform observation and personal experience
into imaginative prose, create dynamic characters and
dialogue, and write from different points of view. By the
end of the course, you will have in hand a series of
short sketches or a draft of a short story and key tools
you need to write creatively. For technical requirements
see page4. Enrollment limited to 15 students.
Reg# 263771CA
Apr 20-May 25
liz gonzlez, MFA, author of the volume of poems
Beneath Bone. Ms. gonzlezs work has appeared in
Wide Awake: The Poets of Los Angeles and Beyond,
Inlandia: A Literary Journey, BorderSenses Literary &
Arts Journal, Women on the Edge: Writing from Los
Angeles, and The San Francisco Chronicle, among
others. She was recently awarded an Irvine Fellowship
at the Lucas Artists Residency Program.
Fiction for Absolute Beginners m

This course offers you the chance to get your feet wet
by learning the basic elements of story, characters,
conflict, point-of-view, and dialogue. You write a short
piece that focuses on the craft element being explored
each week, and leave the course with a mini-portfolio
in hand. For technical requirements see page4. Enrollment limited to 15 students.
kkk
Reg# 263773CA
Apr 27-Jun 1
Tantra Bensko, MFA, fiction writer, poet, and awardwinning author with hundreds of creative writing publications, four chapbooks, a Slipstream novella from ELJ
Publications, and two full-length fiction books. She is a
graduate of the Iowa Writers Workshop.
Creativity into Craft:

A Fiction Writing Workshop m

This workshop is dedicated to showing you how to tap
into and enhance deep sources of creativity while
simultaneously teaching you how to write fiction
through proven exercises and techniques. Achieving a
balance between the inspiration and perspiration of
the writing process, each exercise emphasizes one or
more key elementscharacter, setting, dialogue, and
plotwhile fostering your strong original voice and
forging your fiery creativity into publishable material.
For technical requirements see page4. Enrollment
limited to 15 students.
Reg# 263770CA
Apr 13-May 18
Harry Youtt, fiction writer and Pushcart Prize-nominated poet whose collections include Ill Always Be from
Lorain and Outbound for Elsewhere. Mr. Youtt is on the
editorial board of the international Journal of Consciousness, Literature and the Arts, and is a co-recipient of the UCLA Extension Distinguished Instructor
Judith Prager, PhD, fiction and nonfiction writer whose
novels include The Newman Factor and Black Water.
Dr. Pragers nonfiction includes Verbal First Aid (Penguin
Berkley), The Worst Is Over: What to Say When Every
Moment Counts, and Journey to Alternity. She is a corecipient of the UCLA Extension Distinguished Instructor
NEW COURSE
Personal Essay and Beyond:

A Beginning Workshop m

In this supportive workshop, you learn how to write a
personal essay and discover other creative possibilities
your story might hold. You begin by diving into what
makes strong and compelling writing, including character and plot development, story arcs, and conflict, and
then use these elements to shape your own personal
anecdotes and experiences into a piece of writing. In
addition, you learn how a well-defined story and characters work together for maximum impact and create
a strong introduction in a voice that grabs the reader.
When your essay is completed, we explore other creative directions. Is your essay a memoir waiting to be
written? Perhaps its a novel, feature film, short story,
or documentary? Discover your story and where it might
go! Enrollment limited to 15 students.
Reg# 263772CA
Apr 20-May 25
Victoria Zackheim, MA, editor of six anthologies of
personal essays including The Other Woman; For
Keeps; The Face in the Mirror; He Said What?; Exit
Laughing; and Faith: Believers, Agnostics, and Atheists
Confront the Big Questions (Simon & Schuster/Beyond
Words 2015). Ms. Zackheims documentary, Where
Birds Never Sang: The Ravensbruck and Sachsenhausen Concentration Camps, aired nationwide on PBS.
Success!
The Program did more than help me become a
better writer. It also taught me about the industry and the realities of trying to be a writer in a
highly competitive business.
Online creative writing student Jacqui
Lipton, whose YA novel, Inside the Palisade
(written as K.C. Maguire), was published by
Lodestone Books. She was also accepted into
the MFA Program in Writing for Children
and Young Adults at the Vermont College
of Fine Arts, and her short stories and f lash
fiction have won awards at Writers Type and
Delta Women Magazine.
Jacqui Lipton

General Interest:
Special Subjects & Themes
Unless otherwise noted in the description,
courses in this section are open to students
of all levels who want to focus on a specific
area of study. These courses can be used to
fulfill Creative Writing certificate requirements; contact the Writers Program at (310)
Moving into Stillness:

A Yoga-Based Writing Workshop m

Between the breaththat pause between the inhale
and exhaleis our still center. This is the creative mind,
where words and images dwell. When writers gain
access to this core, they contact the original mind and
their work becomes charged with heat, energy, emotions, and naked truth. This course helps you focus and
gain access to the wide open spaces of your own inner
being and arm you with techniques as sharp as swords
to allow your own voice to spill onto the page. You
examine disciplines like breath control; meditation;
intention; ahimsa; visualization; mindless activities; and
physical disciplines, like yoga asanas and Thich Nhat
Hanhs walking meditation. You experiment with these
various spiritual tools, discuss obstacles in a supportive
milieu, design your own daily practice, and post work
in any genre along the way. Designed for students with
some background in yoga or another physical discipline
and interest in Indian philosophy. Featuring podcasts
and video clips exploring practical ways to shift into
stillness prior to writing. For technical requirements see
page4. Enrollment limited to 15 students.
Reg# 263774CA
Mar 30-May 4
Virginia Frances Schwartz, award-winning author of
numerous novels for middle grade and young adult
readers, including Messenger; Initiation; Send One
Angel Down; If I Just Had Two Wings; Crossing to
Freedom; Nutz!; and a novel about writing, 4 Kids, 5-E,
One Crazy Year.
Power Up Your Writing: Deeper

Characters, Deeper Truths m

How do writers create work that electrifies readers and
stays with them long after they have turned the last
page? One key is that they create characters who live
on in the readers minds; another is that they dig into
their own hearts and minds to reveal deeper truths.
Whether youre writing fiction, poetry, memoir, or
essay, this course helps you to do both. The process
of being able to create memorable characters includes
building the vivid worlds they live in, and exploring how
they reveal who they areand what they want

through action and speech, as well as through what
they own, wear, value, and desire. The body as a metaphor for feelings about ourselves and others is
explored, and visual artspainting, sculpture, photographyoffer pathways to get at your own truths. In
revising your work, you gain tools for going deep into
the story to reveal rich, new insights. Suitable for
beginners and experienced writers. Enrollment limited
to 15 students.
Reg# 263776CA
Apr 13-Jun 1
Rochelle Jewel Shapiro, whose novel, Miriam the
Medium, was nominated for the Harold U. Ribelow
Prize. Ms. Shapiros essays have been published in The
New York Times and Newsweek; her short stories have
appeared in numerous publications including the
anthology Father (Pocket Books); and her poetry in The
Iowa Review, Sedge, and Moment. She won the Branden Memorial Literary Award.
Creating Memorable Characters m

Vivid, complex characters are at the heart of good fiction. Whether we choose to render our characters
through spare details or extensive description, we need
to know them thoroughly. Why are some protagonists
more memorable than others? What distinguishes one
fictional villain from another? Which aspects of characterization should we contemplate as we develop our
characters? The goals are to develop an understanding
of the techniques involved in creating and developing
memorable characters, and to produce a lengthy character sketch (2,000-4,000 words) that can serve as the
foundation for a short story or other work of fiction. For
technical requirements see page4. Enrollment limited
to 15 students.
Reg# 263775CA
Apr 20-May 25
Daniel M. Jaffe, MFA, internationally published fiction
writer, essayist, and literary translator whose latest
novel is The Genealogy of Understanding (Lethe Press,
2014). Mr. Jaffes other works include The Limits of
Pleasure, selected by ForeWord Magazine as a Book of
the Year Award finalist, and Jewish Gentle and other
Stories of Gay-Jewish Living. He is a recipient of the
UCLA Extension Outstanding Instructor Award in
Creative Writing.
156
Writers Program
Writing Fantasy m

The fantasy genre goes well beyond popular stereotypes of elves, dragons, and magic. And while stories
featuring these elements fall within the genre, this
course opens up fantastic literatures vast possibilities
for aspiring writers. You first learn how the basic elements of fictionsuch as point of view, world-building,
description, character, and plotare used by fantasy
writers to conjure rich, deep, and uncanny universes.
You then explore the major tropes of fantastic literature,
and through a series of writing exercises, put that
knowledge into practice. Finally, you build your own
fantasy short story or the opening chapter of a novel,
workshop it, and utilize feedback to execute and resubmit a substantial revision of your original submission.
The course goal is to have in hand 20-25 pages of
polished prose. For technical requirements see page4.
Enrollment limited to 15 students.
Reg# 263777CA
Apr 13-Jun 15
Paul Witcover, MA, author of six novels, including The
Watchman of Eternity, and a collection of short stories,
Everland and Other Stories. Mr. Witcover was a finalist
for the World Fantasy, Nebula, and Shirley Jackson
Awards. His critical essays and book reviews have
appeared in Locus, Realms of Fantasy, and The New York
Review of Science Fiction. With writer Elizabeth Hand, he
co-created and co-wrote the DC Comics series Anima.
Travel Writing as Literary

Art Form m

Travel writing is a literary art form that has been imaginatively transporting readers to new places, cultures,
and perspectives for centuries and remains one of the
most robust areas of publishing. This course guides you
to elevate the mere travelogue or guidebook entry into
a thoughtful, well-crafted piece of literature as you
study elements of theme, structure, dialogue, descriptive language, and tone in reading of the works of some
of the most lauded travel writers. You apply what youve
learned in weekly writing exercises that are developed
into at least one fully realized essay by courses end.
You learn how to conduct research, take field notes, and
tackle the unique challenges and ethical questions that
face travel writers, as well as look at various publishing
venues and career opportunities for new travel writers.
The course goal is to fully develop one polished travel
essay (600-3,000 words) and generate material for
future essays. Enrollment limited to 15 students.
Reg# 263778CA
Apr 13-Jun 15
Mieke Eerkens, MFA, nonfiction writer whose work has
appeared in publications such as Creative Nonfiction,
The Atlantic, The Rumpus, Guernica, Best Travel Writing
2011, and the Norton Anthology Fakes, among others.
Ms. Eerkens has been the recipient of distinguished
fellowships at VCCA, the James Merrill House, The
Hambidge Center for Creative Arts, and was a Pushcart
Prize nominee.
Fiction I
Instruction is a mix of lecture and workshopping. Under close guidance by the instructor
Novice Writers.
Introduction to Short
Fiction Writing m

It is said that all of us have locked inside at least one
good story to tell. Through lectures on craft, short writing exercises, assignments, and discussion, you learn
how to tell yours. Topics include plot, point-of-view,
setting, description, conflict, characterization, dialogue,

tension, rewriting, and submission strategies. The
course goal is to draft and revise at least one short
story. This course is a prerequisite for students who are
continuing in the short-fiction sequence. Enrollment
Reg# 263779CA
Apr 6-Jun 8
Tantra Bensko, MFA, fiction writer, poet, and awardwinning author with hundreds of creative writing publications, four chapbooks, a Slipstream novella from ELJ
Publications, and two full-length fiction books. She is a
graduate of the Iowa Writers Workshop.
Reg# 263780CA
Apr 13-Jun 15
Adam Prince, MFA, PhD, fiction writer whose short
story collection, The Beautiful Wishes of Ugly Men, was
published by Black Lawrence Press. Mr. Princes work
has appeared in The Southern Review, Narrative Magazine, and Missouri Review, among others. He was a
Pushcart Prize nominee and a Tickner Fellow at the
Gilman School in Baltimore.
Creative Writing: Short Story m

covers the key elements of fiction, including plot,
characterization, setting, point-of-view, and various
story development techniques, as well as publication
markets. Your goal is to complete or rewrite three stories of average length. For technical requirements see
Reg# 263781CA
Mar 30-Jun 15
Wendy Oleson, MFA, PhD, fiction writer, poet, and
nonfiction writer whose work has appeared in numerous journals and anthologies including Copper Nickel,
Baltimore Review, PANK, and The Journal. Ms. Oleson
was a Van Sickle Fellow and a recipient of a Washington
Square Review Fiction Award and The Elizabeth Bruss
Prize. Her recent work appears or is forthcoming in
Carve, The Normal School, Calyx, and Memorious.
Novel Writing I:
Introduction to Novel Writing m

That novel is inside you waiting to emerge, but knowing
how and where to start can be daunting. This course
provides you with weekly assignments, group interaction, and instructor feedback to help you explore various
methods of writing your first novel while learning the
key craft points of plot, structure, characterization,
point-of-view, sense of place, and voice. The goal is to
complete the first chapter of your novel by establishing
an intimacy with your characters as you artfully shape
their journey, and to develop an overall concept to guide
you through your story. Required for students considering the long fiction sequence. For technical requirements see page4. Enrollment limited to 15 students.
Reg# 263782CA
Apr 6-Jun 8
Jessica Barksdale Incln, MFA, MA, fiction writer and
poet is the author of thirteen published novels, including
Her Daughters Eyes, When You Believe, and Beccas
Best. Her short stories, poems, and essays have
appeared in or are forthcoming in Compose, Salt Hill
Journal, The Coachella Review, Carve Magazine,
Masons Road, and So to Speak.
Reg# 263783CA
Apr 6-Jun 8
Jessica Barksdale Incln, MFA, MA, fiction writer and
poet is the author of thirteen published novels, including
Her Daughters Eyes, When You Believe, and Beccas
Best. Her short stories, poems, and essays have
appeared in or are forthcoming in Compose, Salt Hill
Journal, The Coachella Review, Carve Magazine,
Masons Road, and So to Speak.
Fiction II
includes lectures as appropriate, but focuses
Writing the Short Story:

Intermediate Workshop m

Focusing on close textual analysis and intensive writing
practice, you create two short stories and revise one in
this 10-week workshop. Weekly lectures on technique,
analysis of published stories, and in-depth instructor
and peer critique develop and deepen your understanding of the art and craft of short story writing. Strategies
for approaching the marketplace also are discussed.
For technical requirements see page4. Prerequisite: At
least two fiction writing courses or departmental
approval. Enrollment limited to 15 students.
Reg# 263785CA
Apr 13-Jun 15
Charles Wyatt, MFA, MM, and fiction writer whose
short fiction has appeared in American Literary Review,
The New England Review, and New American Writing,
among others. Mr. Wyatt is the author of Listening to
Mozart (winner of the John Simmons Award), and the
novella The Spirit Autobiography of S. N. Jones. His
collection of short fiction, Swan of Tuonela, was published by Hanging Loose Press.
Novel Writing II m

Armed with your overall concept and first chapter, you
continue to develop your knowledge of craft by writing
scenes using characters and situations from the projected novel and workshopping your in-progress work.
Mini-lectures on the art of the novel, intuitive creative
process, and conventional vs. non-conventional
approaches to novel structure also are covered. The
goal is to complete 50 pages of your novel. For technical requirements see page4. Prerequisite: X462.71
Novel Writing I: Introduction to Novel Writing or departmental approval. Enrollment limited to 15 students.
Reg# 263786CA
Apr 13-Jun 15
Nancy Woodruff, MFA, author of My Wifes Affair and
Someone Elses Child, and co-author of the nonfiction
book Shards: A Young Vice Cop Investigates Her Darkest
Case of Meth AddictionHer Own. Ms. Woodruff is a
recipient of the Ragdale Foundation Residency and was
a winner of the Henfield/Transatlantic Review Award.
She currently teaches writing at New York University.
Novel Writing III:

Works-in-Progress Workshop m
X 446.7B English 3units

For those with a minimum of 50 pages of a novel-inprogress, this workshop guides you to generate at least
50 new pages, as well as learn essential self-editing
techniques, with the instructor and peers reviewing
each participants project in detail. Refinements of
character, structure, emotional content, and the development of the writers voice also are explored. The goal
is to produce a substantial portion of your novel. For
technical requirements see page4. Prerequisite:
X462.71 Novel Writing I: Introduction to Novel Writing
and X446.7A Novel Writing II or departmental approval.
Reg# 263787CA
Apr 13-Jun 15
Robert Eversz, MFA, author of the novels Zero to the
Bone, Digging James Dean, and Burning Garbo (Simon
& Schuster); Killing Paparazzi (St. Martins); and Gypsy
Hearts and Shooting Elvis (Grove Atlantic). Mr. Everszs
novels have been translated into 15 languages. He has
been the finalist judge for the AWP Award Series in the
Novel, and co-founded the Prague Summer Program
for writers at Western Michigan University.
Story Structure for the Novel m

Many aspiring novelists write with the hope that inspiration will come. The result is time wasted on a flabby
novel with no clear shape and a sagging pace. On the
other hand, story structure gives your novel a skeleton;
it forms the bones of your story. And just as adding
flesh and clothing to a body makes that body more
unique, so does any creative addition the writer makes
to his or her basic structure. This course teaches you
how to build that skeleton, from a solid premise line to
building the moral argument of your novel. You ensure
that your novel has what story structure guru John
Truby calls the seven key steps, and you learn how
reversals and reveals, as well as character wants and
needs, can drive your story to a satisfying conclusion.
Exercises focus on structural elements such as character ghosts, story world, and more, and by the end of
the course, you have in-hand a six-page synopsis that
works. In addition, for most weeks, you submit six
pages of writing that relate to a particular structural
element. For technical requirements see page4.
Reg# 263788CA
Apr 13-Jun 15
Caroline Leavitt, internationally-published fiction writer
of nine novels, including Is This Tomorrow and Pictures
of You, a New York Times Trade Fiction Bestseller. Ms.
Leavitts work has been anthologized in The Other
Woman and Bad Girls, and her new novel, Cruel, Beautiful World, will be published by Algonquin in 2016. She
is a recipient of the UCLA Extension Outstanding
Instructor Award in Creative Writing.
Fiction III
advanced-level workshops. At this level,
courses are primarily workshop-driven. It is
recommended that students take courses at
the Fiction II level prior to submitting their
work to an advanced-level course. For
instructions on submitting a writing sample,
see page152.
The Art of the Short Story:

Advanced Workshop m

The short story, one of the most challenging of all literary forms, requires the precision and imagistic intensity
of poetry combined with novelistic elements of structure, setting, and characterization. This workshop helps
you to realize your fictional intentions through detailed
written critiques and to prepare your stories for publication in targeted markets. The course goal is to complete
two new stories and one revision. For technical requirements see page4. Prerequisite: Writing sample plus a
one-to-two-page synopsis is required; for instructions
on submitting a writing sample see page152. Enrollment limited to 12 students. Restricted course; call
a Permission to Enroll request.
Reg# 263789CA
Fee: $685
Apr 13-Jun 15
Adam Prince, MFA, PhD, fiction writer whose short
story collection, The Beautiful Wishes of Ugly Men, was
published by Black Lawrence Press. Mr. Princes work
has appeared in The Southern Review, Narrative Magazine, and Missouri Review, among others. He was a
Pushcart Prize nominee and a Tickner Fellow at the
Gilman School in Baltimore.
Writers Program157

Novel Writing IV:
Advanced Workshop m
X 446.7C English 3units

For students with at least 100 pages of a novel, this
advanced workshop focuses on elements of technique
and vision necessary for a work to be considered
complete. You receive intensive instructor and peer
critiques of manuscript chapters and their relation to
the overall work, including a review as needed of the
effective use of voice, tone, mood, imagery, and metaphor. A major goal of this course is to give you the
self-editing skills to polish and revise your entire novel
within and beyond the course itself. Please prepare a
one-page, double-spaced synopsis and your novels
first five pages for the first week of class. For technical
requirements see page4. Prerequisite: X462.71 Novel
Writing I: Introduction to Novel Writing, X446.7A Novel
Writing II, and X 446.7B Novel Writing III: Works-inProgress Workshop; or equivalent. Writing sample plus
a one-to-two page synopsis is required; for instructions
on submitting a writing sample see page152. Enrollment limited to 12 students. Restricted course; call
a Permission to Enroll request.
Reg# 263790CA
Fee: $685
Apr 13-Jun 15
Lynn Hightower, nationally and internationally bestselling novelist with 14 books in print. Ms. Hightowers books
have appeared on The New York Times Notable list, The
London Times bestseller list, and have been selections
of The Literary Guild and The Mystery Guild. She also is
a recipient of the Shamus Award, and her latest book,
Even in Darkness, was published by Severn House.
NEW COURSE
Advanced Speculative
Fiction Writing m

For students who have previously written a minimum
of 50 pages of science fiction, fantasy or horror (either
a novel or several shorter pieces), this workshop
focuses on revising speculative work to a publishable
level. A major goal is to give you skills to precisely place
your fiction within the genre and then revise it, addressing story problems and genre issues. You analyze indepth and revise one previously written work, while
doing detailed development on a future project. The
intent is to deepen your understanding of the speculative fiction subgenres and their individual markets
through discussion of the proposed work. The course
goal is to finish and prepare the revised submission for
market while completing the development document
and the first 3,000 words of the new project. Please
prepare to submit the first three chapters of your novel
or 5,000 words of short fiction in the first week of class.
For technical requirements see page4. Prerequisite:
X455 Creating Universes, Building Worlds, or X456.1
Writing the Fantastic, or X461 Novel I: Introduction to
Novel Writing, or X446.7A Novel II, or a previous speculative fiction workshop. Writing sample plus a one-totwo page synopsis is required; for instructions on
submitting a writing sample see page152. Enrollment
limited to 12 students. Restricted course; call (310)
825-0107 for information regarding the application
process. Web enrollments automatically generate a
Permission to Enroll request.
Reg# 263791CA
Fee: $685
Apr 13-Jun 15
Alyx Dellamonica, author of The Town on Blighted
Sea, a Years Best Science Fiction pick, and Indigo
Springs, which won the 2010 Sunburst Award for
Canadian Literature of the Fantastic. Ms. Dellamonicas
latest, Child of a Hidden Sea, was a 2014 Lambda
Award finalist. She has published short fiction at Tor.
com, in Isaac Asimovs Science Fiction Magazine, SciFi.
com, and Realms of Fantasy.
Creative Nonfiction I
Creative Nonfiction II
Poetry

Novice Writers.

includes lectures as appropriate but focuses
Creative Writing: Poetry m
Introduction to Writing
the Memoir m

Memoir may begin with memory, but then it moves
outward to the world. In order to formulate your story
into a memoir, you need the tools to transform your
personal life story into larger truth-filled stories that
resonate with and illuminate the lives of your readers. Through exercises, studies in craft, and utilizing
successful memoirs as models, you obtain the
knowledge and confidence to shape your story. You
create an outline and write one or two chapters in
a safe and nurturing environment, with intensive
sessions for manuscript feedback and revision. For
technical requirements see page4. Enrollment
Reg# 263792CA
Apr 13-Jun 15
Shawna Kenney, MFA, award-winning author of the
memoir I Was a Teenage Dominatrix (optioned for film
by FX), co-author of Imposters, and editor of the anthology Book Lovers. Ms. Kenneys work has been published in The New York Times, Playboy, Ms, Narratively,
Bust, Creative Nonfiction, The Rumpus, and The Florida
Review, among others.
Travel Writing as Literary

Art Form m

Travel writing is a literary art form that has been imaginatively transporting readers to new places, cultures,
and perspectives for centuries and remains one of the
most robust areas of publishing. This course guides you
to elevate the mere travelogue or guidebook entry into
a thoughtful, well-crafted piece of literature as you
study elements of theme, structure, dialogue, descriptive language, and tone in reading of the works of some
of the most lauded travel writers. You apply what youve
learned in weekly writing exercises that are developed
into at least one fully realized essay by courses end.
You learn how to conduct research, take field notes, and
tackle the unique challenges and ethical questions that
face travel writers, as well as look at various publishing
venues and career opportunities for new travel writers.
The course goal is to fully develop one polished travel
essay (600-3,000 words) and generate material for
future essays. Enrollment limited to 15 students.
Reg# 263778CA
Apr 13-Jun 15
Mieke Eerkens, MFA, nonfiction writer whose work has
appeared in publications such as Creative Nonfiction,
The Atlantic, The Rumpus, Guernica, Best Travel Writing
2011, and the Norton Anthology Fakes, among others.
Ms. Eerkens has been the recipient of distinguished
fellowships at VCCA, the James Merrill House, The
Hambidge Center for Creative Arts, and was a Pushcart
Prize nominee.
NEW COURSE
Narrative Techniques for

Nonfiction Writers m

Designed for writers of fiction or narrative nonfiction,
this course teaches you the nuts and bolts of storytelling, from handling point-of-view to structuring scenes.
You try a new technique each week, then receive
feedback from the instructor and from fellow students.
By the end of the course, you will have developed the
key elements of a single long narrative (or several short
ones) and written 25 pages of it. Prerequisite: At least
one previous creative nonfiction course. Enrollment
Reg# 263794CA
Apr 13-Jun 15
Gordon Grice, MFA, nonfiction writer whose first book
of creative nonfiction, The Red Hourglass: Lives of the
Predators, appeared on best-of-the-year lists from The
New York Public Library, Los Angeles Times, and PEN
USA. Mr. Grices nonfiction has appeared in The New
Yorker, Harpers, and Granta. His latest book, Deadly
Kingdom: The Book of Dangerous Animals, was published by The Dial Press, a Random House division.
Intermediate Creative Nonfiction

Writing Workshop m

Designed for those who have already begun to explore
memoir or other narrative nonfiction genres, this workshop guides you to take your skills to the next level by
focusing on a collection of essays, a single project, or
other types of nonfiction prose; works-in-progress are
welcome. Every week, you read several short, stylistically
adventurous pieces to expand your repertoire and post
a new installment of your own project for feedback from
your instructor and peers. The goal is to generate 40-50
pages of polished new or existing material by the end
of the course. For technical requirements see page4.
Prerequisite: Previous nonfiction course or consent of
instructor. Enrollment limited to 15 students.
Reg# 263795CA
Apr 13-Jun 15
Yelizaveta Renfro, MFA, PhD, whose essay collection,
Xylotheque, was published in the University of New
Mexico Press in April 2014. A Pushcart nominee, Ms.
Renfro is the editor of Keeping Track: Fiction of Lists
(Main Street Rag, 2012) and her short story collection,
A Catalogue of Everything in the World, won the St.
Lawrence Book Award.

combines writing assignments with an exploration of
contemporary poetry. You look at forms ranging from
the sonnet to prose poems, and develop your own
voice. Each week the work of a contemporary poet is
discussed and writing assignments are critiqued. The
course goal is to finish with a number of polished and
completed poems and understand the demands and
rewards of living an inspired life through poetry. For
technical requirements see page4. Enrollment limited
to 15 students.
Reg# 263796CA
Mar 30-Jun 15
Rachel Kann, MFA, an award-winning poet whose work
appears in various anthologies, including So Luminous
the Wildflowers (Tebot Bach Press), and numerous
compilation CDs. Ms. Kann has performed her work
nationwide, including at Walt Disney Concert Hall, as
part of HBOs Def Poetry Jam, and ABCs Eye on L.A.
She is the author of 10 for Everything, a collection of
short stories.

Writing in Rhyme for
Young Children m
X 451.88A English 2.5units

This course takes you into the world of writing stories
for children using rhyme. After briefly reviewing the
components of a good story such as story arc and
characterization, you delve into exploring all the key
elements of writing in rhyme: poetic voices, rhythm,
rhyme, repetition, scansion, musicality, and poetic forms
used to tell a story. Short, fun writing exercises allow you
to expand your awareness of poetic writing elements
and their functions, and prepare you to work on a main
project for the course: a picture book manuscript written
in rhyme (or with rhyme as a strong component). Engaging in an ongoing feedback process overseen by the
instructor, the course provides a safe zone for discussion of student work and helps you hone your own critique skills. The course goal is to complete a draft of a
rhyming picture book manuscript. For technical requirements see page4. Prerequisite: Previous beginning
picture book writing course or departmental approval.
Reg# 263798CA
Apr 6-May 25
Terry Pierce, MFA, author of 17 childrens books,
including Blackberry Banquet, Laughin Jammin Slammin Jokefest, and Tae Kwon Do!. Ms. Pierce has
received an Association of Educational Professionals
Distinguished Achievement Award and was an AEP
Golden Lamp Finalist for Mother Goose Rhymes.
Course Icons
Provide
Information
At-a-Glance
m Online course
& Textbook required
C UC credit; may be
transferable to other
colleges and universities
M Meets during daytime hours
158
Writers Program
Writing the Young Adult Novel m

The young adult (YA) novel is one of the fastest-growing
and most flourishing genres in the fiction book market
todayfrom dark fantasy to chick lit, and everything in
between. But just who are these teenage readers? What
do they care most about and how can you craft stories
to reach them? This workshop focuses on developing the
tools specific to writing for the YA audience. You study
various types of published YA fiction and learn to understand the teen voice and shape characters, plot, and
pacing. Through interactive critiquing, you build your book
ideas into two chapters. For technical requirements see
Reg# 263800CA
Apr 13-Jun 15
Beth Ann Bauman, MFA, author of the young adult
novels Jersey Angel (Wendy Lamb Books, 2012) and
Rosie and Skate (Random House), which was selected
for The New York Times Editors Choice list and Booklists 2009 Top 10 First Novels for Youth. Ms. Bauman
also is the author of the short story collection Beautiful
Girls (MacAdam/Cage).
Screenwriting
Special Topics for Film
& Television Writers
Writing Your Feature Film from the
Story Analysts POV m

Story analysts are the gatekeepers of the Hollywood
studio system who decide whether a screenplay goes
further up the pipeline for greenlighting. The typical
studio reader has covered and analyzed thousands of
screenplays and treatmentsand thus knows in voluminous detail what works, what doesnt, and why.
Designed for writers with a solid grounding in feature
film writing basics, this course, taught by a veteran
studio story analyst, teaches you proven principles to
clear the most important hurdles to your screenplays
success. You learn how to create different kinds of
conflict, construct the world of the story, write effective
backstories that layer the characterization, craft characters that exemplify the storys theme, and fashion
vivid scene descriptions that can lure a studio reader
into receptivity of your screenplay. Come armed with a
four-to-five page outline, and by the end of this course,
you leave with a five-to-seven page treatment that
provides the emotional tone of the screenplay, layers
the characterization, enlarges on the plot and subplots,
and serves as a much more detailed plan of the screenplay, which makes the first draft of the screenplay
easier to write. For technical requirements see page4.
Course may be taken as a certificate program elective.
Enrollment limited to 15 students. &
Reg# 264097CA
Apr 6-Jun 8
Kate Marciniak, MA, writer, professional story analyst
who has worked on both studio features and independent movies for over two decades, for companies such
as Disney, HBO, Miramax, Dreamworks SKG, Warner
Bros., 20th Century Fox, and Amazon Studios. Ms.
Marciniak has also produced programming for National
Public Radio and C-SPAN and oversaw the Los Angeles
Downtown Film Festival.
Writing the Films Audiences

Want to See: Film Genre and
Structure Workshop m

Audiences have definite expectations of horror, romance,
thriller, sci-fi, and other film genres, and this course helps
writers of any level to give em what they paid forand
a lot more. Through an in-depth exploration of specific
genres, you unleash new and powerful film writing skills,
including how to generate original story ideas and how to
tackle narrative and story structure in fresh ways. The
course goals are ambitious but doable for the motivated
writer: you create three new solid screenplay story ideas
based in specific genres and learn how to use the film
genre in the construction of a screenplay; you complete

rough outlines and/or synopses of screenplay ideas, one
in each genre; you write the first ten pages of an original
screenplay of one of the stories in a chosen genre; and
by the end of the course, you have in hand more than 10
stories that you will want to write. For technical requirements see page4. Course may be taken as a certificate
program elective. Enrollment limited to 15 students.
Reg# 264083CA
Apr 6-Jun 8
Jule Selbo, MFA, PhD, screenwriter; WGA member who
has written films for the Jim Henson Company and Walt
Disney Studios. Dr. Selbos feature credits include Columbia Pictures Hard Promises, as well as screenplays for
Paramount, Universal, and HBO. She is the author of Film
Genre for Screenwriters and co-editor of the groundbreaking Women Screenwriters International Guide.
How to Get a Literary Agent

and Launch Your Career as a
Professional Screenwriter m

This course prepares you to have a sustainable career
writing for the screen, by gaining the insiders perspective so you can use that inside knowledge to your
advantage. First, you learn to position yourself by creating a strong portfolio. Using guided assessment of your
writing skills, you identify your particular genre, since
genre mastery is a wise expression of professional
expertise. Second, by visualizing the entertainment
business as a competitive contact sport with rules,
levels, points, and goals, you learn how to find out
whats true, whats false, whos who and most importantly, how to engage in professional partnership with
agents, managers, producers, fellow artists, and media
executive buyers. Understanding exactly what an agent
does exposes you to how the entertainment business
actually works. You complete the course with your
mental state re-wired about Hollywood and your own
work, and your chances of success greatly enhanced.
For technical requirements see page4. Course may be
taken as a certificate program elective. Enrollment
limited to 15 students. &
Reg# 264099CA
Apr 13-Jun 15
Nancy Nigrosh, MFA, MA, former talent and literary
agent at Innovative Artists and Gersh Agency, who has
represented many award-winning writers and directors
for film and television, including Academy Award winner
Kathryn Bigelow (The Hurt Locker), Stuart Beattie (Collateral, Pirates of the Caribbean), Amanda Brown
(Legally Blonde), and Leslye Headland (Bachelorette),
among others.
Development
Writing Coverage: Story Analysis for
Film and Television m

Designed for both aspiring story analysts and screenwriters who want to accelerate their careers, this course
helps you master the methods used by story analysts
who evaluate submissions to production companies,
agencies, and studios. You learn how to do an in-depth
analysis of the three-act structure, as well as dramatic
and comic scene construction. You also learn the precise terminology used in story sessions, the foundations
for great dialogue, and how to find original approaches
to established genres. These and other principles
become synthesized into coverage written to the highest professional standards, in preparation for a job as
either a story analyst or screenwriter who needs to
critique his or her own scripts effectively. For technical
requirements see page4. Course may be taken as a
certificate elective. Enrollment limited to 15 students.
Reg# 264092CA
Apr 6-Jun 8
Barney Lichtenstein, MA, professional story analyst
who assists in training new analysts for the Sundance
Institute and production companies, and whose Story
Analysts Top Ten List of Effective Screenwriting Methods has been featured in Creative Screenwriting and on
Script Magazines website. Mr. Lichtenstein is a recipient of the UCLA Extension Outstanding Instructor Award
in Screenwriting.
Feature Film Writing:

Beginning Courses
Writing the First Screenplay I m
X 440A Film & Television 3units

The first in a four-part sequence designed to take you
through the full process of writing a feature film screenplay, this course grounds you in the key craft elements
of story structure, plot, scene development, character,
theme, genre, and dialogue, and shows you how they
work together to grip an audiences emotions. You learn
how to create and evaluate story ideas; explore how
characters inner wants and immediate goals shape
and drive a screenplays action; see what constitutes
compelling plots and subplots; and learn how to construct a scene. Throughout the course, you complete a
series of exercises which serve as the basis for your
script outline, a prose description of your screenplay.
The course goal is to learn how to write effective,
compelling scenes and to create a four-to-five page
outline that clearly delineates your scripts beginning,
middle, and end. The ability to write an effective outline
is a critical skill for the professional screenwriter, serves
as the basis for most pitches, and is required for admission into X 440B Writing the First Screenplay II. For
technical requirements see page4. Course may be
taken as a certificate core requirement. Enrollment
Reg# 264069CA
Apr 6-Jun 8
Daniel Sussman, MFA, JD, screenwriter; WGA member
who served as a staff writer for ABCs The Practice. Mr.
Sussman most recently sold his big-budget disaster
feature Galveston to Warner Bros. Pictures. He has sold
other scripts to production companies, including Polaris
Pictures and NBC Television Network. He was also a TV
Writing Fellow for ABC/Disney Studios.
Reg# 264070CA
Apr 6-Jun 8
Ron Wilkerson, writer/director; WGA member whose
numerous writing credits include multiple episodes of
Stargate SG-1, Star Trek: The Next Generation, and Star
Trek: Voyager. He is currently developing Dreamland, a
miniseries for ABC Studios. Mr. Wilkerson wrote and
directed the independent feature Trade Show and is a
recipient of the UCLA Extension Outstanding Instructor
Award in Screenwriting.
Reg# 264041CA
Apr 6-Jun 8
Jon Bernstein, screenwriter, WGA member who wrote
Meet the Robinsons, Ringmaster, and Beautiful. Mr.
Bernstein has worked on film and TV projects for Paramount, DreamWorks, 20th Century Fox, NBC/Universal
and the CW. Current film projects include The Unraveling (Neil Abramson, director) and Brian Wonders (Victor
Robert, director). He is a contributing author to Cut to
the Chase (Gotham Books/Penguin).
Writing the First Screenplay II m
X 440B Film & Television 3units

This second in a four-part sequence in writing a feature
film script has you hit the ground running. You begin by
pitching your story based on your outline and revising
it to make sure the premise can carry the entire movie.
Armed with a workable outline, you then flesh it out into
either a beat sheet or treatment (at the instructors
discretion) and begin writing your screenplay. Personalized feedback along with mini-lectures on key craft
points, including character development, story structure,
and conflict, help you to meet the course goal, which
is to write Act I (approximately 30 pages). May be
repeated for credit. For technical requirements see
page4. Prerequisite: X 440A Writing the First Screenplay I. Students must bring a four-to-five-page outline
they created in Writing the First Screenplay I to first
class meeting and be prepared to pitch it. Course may
be taken as a certificate core requirement. Enrollment
kkk
Reg# 264072CA
Apr 6-Jun 8
Steven Schwartz, screenwriter/producer, WGA member, and Spirit Award nominee for his screenplay for the
Sidney Lumet-directed movie Critical Care, starring
James Spader, Kyra Sedgwick, Helen Mirren, and Albert
Brooks. His TV credits include The Practice and 100
Centre Street. He has written scripts and pilots for Fox,
ABC, FX, Disney, NBC, Universal, Lionsgate, HBO, and
many others.
Reg# 264076CA
Apr 6-Jun 8
Ronald Raley, screenwriter; WGA member whose
credits include Edge of Sanity, Dorian, Cupid and Cate,
The Runaway, and The Locket, for which he received a
Camie Award. Mr. Raley has worked as a development
executive for Cannon Pictures and Hallmark Hall of
Fame Productions, and has developed screenplays for
Glenn Close, Vanessa Redgrave, Chuck Norris, Anthony
Perkins, Malcolm McDowell, and others.
Writing the First Screenplay III m
X 440C Film & Television 3units

The third in a four-part sequence in writing a feature
film screenplay, this course focuses on the greatest
challenge facing screenwriters: writing the second act.
As you write these crucial 60 pages, you refine your
story outline; flesh out main and secondary characters;
continue to develop the art of the scene as it pertains
to type, choice, structure, and placement; and begin to
discover each characters unique voice. You also learn
the habits you need to sustain the work of writing a
screenplay. The goal is to write Act II. May be repeated
for credit. For technical requirements see page4.
Prerequisite: X440A Writing the First Screenplay I and
X440B Writing the First Screenplay II. Students must
bring their beat sheets or treatments and Act I to the
first class meeting and be prepared to write. Course
may be taken as a certificate core requirement.
Reg# 264077CA
Apr 6-Jun 8
Chrysanthy Balis, MPW, screenwriter; WGA member
whose credits include Asylum. Ms. Balis has projects
in development with CBS, USA Networks, Flodyco
Productions, and she has previously written for the
Zanuck Company/Fox 2000, and HBO. A recipient of
the UCLA Extension Outstanding Instructor Award in
Screenwriting, she is a contributing author to Cut to the
Chase (Gotham Books/Penguin).
Writing the First Screenplay IV m
X 440D Film & Television 3units

In the last of a four-part sequence in writing a feature
film screenplay, you reach FADE OUT. In the process of
writing Act III, you hone in on structuring conversations,
explore how to maximize your storys visual implications,
deepen scene writing skills, assemble scenes to form
powerful sequences, ensure your scripts central conflict
is resolved, and work on theme and imagery. Also covered are revision techniques and the business aspects
of feature film writing. The goal is to complete writing
your first feature film script. For technical requirements
see page4. Prerequisite: X440A Writing the First
Screenplay I, X 440B Writing the First Screenplay II, and
X 440C Writing the First Screenplay III. Students must
submit their beat sheets or treatments and Acts I and II
to the first class meeting and be prepared to write.
Course may be taken as a certificate core requirement.
Reg# 264078CA
Apr 6-Jun 8
Michael Janover, MFA, screenwriter; WGA member
who wrote the feature films The Philadelphia Experiment
and Hardly Working, as well as Mr. Boogedy and Bride
of Boogedy for Disney. Mr. Janovers other projects
include a horror/comedy script for Cheech and Chong,
and a horror pilot for Aaron Spelling Productions. He also
was a writer on the original Hawaii Five-O series.
Writers Program159

Writing for Emotional Impact m

Great writing is about creating an emotional experience in the readerincluding producers, directors, or
anyone in the position to advance your scriptso that
their attention is riveted and they keep turning pages.
Designed for those familiar with the basic elements of
a screenplay and who have at least an outline in hand,
this workshop focuses exclusively on how to craft your
words for emotional impact. Through analyses of
professional examples, workshop discussions, and
lectures, you learn how to test your concept at the
emotional level; grab the reader through powerful
storytelling devices; humanize your main characters,
create emotionally gripping scenes, energize descriptions; and turn flat, on-the-nose dialogue into
individualized speech that leaps off the page.
For technical requirements see page4. Prerequisite:
X 440A Writing the First Screenplay I or equivalent.
Course may be taken as a certificate elective.
Reg# 264098CA
Apr 6-Jun 8
Karl Iglesias, MFA, screenwriter and script doctor, who
is the author of The 101 Habits of Highly Successful
Screenwriters, Writing for Emotional Impact, and a
contributor to Now Write! Screenwriting. Mr. Iglesias is
a former development executive for Samson Entertainment. He is a recipient of the UCLA Extension Outstanding Instructor Award in Screenwriting, and a contributing
author to Cut to the Chase (Gotham Books/Penguin).
Writing the Films Audiences

Want to See: Film Genre and
Structure Workshop m

Audiences have definite expectations of horror, romance,
thriller, sci-fi, and other film genres, and this course
helps writers of any level to give em what they paid
forand a lot more. Through an in-depth exploration
of specific genres, you unleash new and powerful film
writing skills, including how to generate original story
ideas and how to tackle narrative and story structure in
fresh ways. The course goals are ambitious but doable
for the motivated writer: you create three new solid
screenplay story ideas based in specific genres and
learn how to use the film genre in the construction of a
screenplay; you complete rough outlines and/or synopses of screenplay ideas, one in each genre; you write
the first ten pages of an original screenplay of one of
the stories in a chosen genre; and by the end of the
course, you have in hand more than 10 stories that you
will want to write. For technical requirements see
page4. Course may be taken as a certificate program
Reg# 264083CA
Apr 6-Jun 8
Jule Selbo, MFA, PhD, screenwriter; WGA member
who has written films for the Jim Henson Company
and Walt Disney Studios. Dr. Selbos feature credits
include Columbia Pictures Hard Promises, as well as
screenplays for Paramount, Universal, and HBO. She
is the author of Film Genre for Screenwriters and coeditor of the groundbreaking Women Screenwriters
International Guide.

Intermediate Courses
Feature Film Writing Workshop:
Outline and Act I m

Designed for writers with at least one screenplay
under their belts, this workshop guides you to launch
and make significant headway on a new project. The
goal is to develop a strong premise that sustains your
entire script, create and refine the story outline, and
write Act I. Brief lectures on craft issues based on the
demands of the participants work supplement the
workshop. For technical requirements see page4.
Prerequisite: X440A Writing the First Screenplay I,
X440B Writing the First Screenplay II, X440C Writing
the First Screenplay III, and X440D Writing the First
Screenplay IV, or departmental approval. Course may

Reg# 264225CA
Apr 6-Jun 8
Andrew Osborne, MA, screenwriter; WGA member
whose indie film credits include the Sundance Film
Festival premiere On_Line, the Tribeca Film Festival
premiere The F Word, and his directorial debut Apocalypse Bop. Mr. Osborne received an Emmy Award for
the Discovery Channels Cash Cab. He has developed
projects for Warner Bros., HBO, MTV, and Orion.

Acts II and III m

This workshop guides you to complete your current
project. You focus on developing a successful second
and third act, with special attention given to structure,
character development, emotional content, and cinematic style. You also acquire self-editing techniques
essential for the professional writer. This is not a rewrite
course; you must be working toward the completion of
a feature-length script and have your outline and Act I
of your script in hand. For technical requirements see
page4. Prerequisite: X430.101 Feature Film Writing
Workshop: Outline and Act I, or equivalent, or consent
of instructor. Course may be taken as a certificate core
requirement. Enrollment limited to 15 students.
Reg# 264227CA
Apr 6-Jun 8
Chrysanthy Balis, MPW, screenwriter; WGA member
whose credits include Asylum. Ms. Balis has projects
in development with CBS, USA Networks, Flodyco
Productions, and she has previously written for the
Zanuck Company/Fox 2000, and HBO. A recipient of
the UCLA Extension Outstanding Instructor Award in
Screenwriting, she is a contributing author to Cut to the
Chase (Gotham Books/Penguin).

Advanced Course
Advanced Rewriting Workshop m

This advanced rewriting workshop is for writers who
want to take an already good script and make it great.
Through the process of analyzing and rewriting your
script, you develop a rewriting strategy with the goal
of preparing your script for the marketplace and screenplay competitions. You must have a completed first draft
of a screenplay. Prerequisite: Submit a sample featurelength screenplay you intend on rewriting in the class;
for instructions on submitting a script see page161.
Course may be taken as a certificate program core
requirement or elective. Enrollment limited to 12 students. Visitors not permitted. Internet access required to
retrieve course materials. Restricted course; call (310)
206-1542 for permission to enroll. &
Reg# 264232CA
Fee: $685
Apr 13-Jun 15
Michael W. Barlow, producer and screenwriter; WGA
member who, as an executive at Paramount Classics,
oversaw Black Snake Moan and Mad Hot Ballroom. Mr.
Barlow worked as vice president of production at various major studios, including Orion Pictures (No Way
Out, House of Games, and Back to School). His writing
credits include the miniseries Kidnapped and the ABC
drama Family.
Television Writing:
Beginning Courses
Beginning Writing for the
1-Hour Spec Drama: Building the
Story and the Outline m

Modeled directly on how writers write in the real world
of one-hour dramas, this course focuses on what is
most central to creating a strong script as well as the
largest piece (40%) of the writers deal with any show:
the story and outline. You learn to choose the best story
for your spec script, map it out from beginning to end,

and write a strong outline in proper script format. In the
process, you learn how to identify and capture the tone,
characters, dialogue, and themes of any one-hour
drama seriesthe key to breaking into the field. Also
covered are the various genres (police procedurals,
medical, legal) and their specific rules; whats popular
in the current marketplace; and how to work within the
special requirements of timeslots, outlets, and styles.
The course goal is to master the process of constructing
an airtight story and detailed outline so you are ready to
write a script for any current show as quickly and
expertly as possible. All student projects must focus on
current shows; no pilots. For technical requirements see
page4. Course may be taken as a certificate core
requirement. Enrollment limited to 15 students. &
Reg# 264247CA
Apr 6-Jun 8
Erica Byrne, screenwriter; WGA member whose credits
include episodes of La Femme Nikita; Nowhere Man;
Silk Stalkings; Hunter; Knots Landing; and Walker, Texas
Ranger. Ms. Byrne has served as a staff writer and has
written many produced docudramas as well as animated scripts. She is a recipient of the UCLA Extension
Outstanding Instructor Award in Screenwriting.
Beginning Writing for the Half-Hour

Spec Comedy: Building the Story and
the Outline m

This course teaches you how to create an airtight story
and outlinethe critical first step in writing a strong
half-hour comedy spec script and a process that
makes writing your script much easier, faster, and
more successful. You begin by learning how to pinpoint
what makes any half-hour comedy show tick, studying
the appeal and quirkiness of the main characters and
the unique spin shows put on their stories. You then
focus on your own script for a current show, finding
the story and identifying the comedy in it, learning how
to pitch it, and creating a workable outline from which
to write. Instruction also covers the need to know
business aspects of the half-hour show, such as the
current use of spec scripts to get jobs and the basics
of how a comedy writer works on staff, how freelance
writers move onto staff, how a writing staff is structured, and how writers work collaboratively in the
room. All student projects must focus on current
shows from a list provided by the instructor; no pilots.
For technical requirements see page4. Course may
Reg# 264243CA
Apr 6-Jun 8
Eunetta T. Boone, television writer/executive producer,
WGA member who created and executive-produced the
UPNs comedy series One on One. Ms. Boone served
as co-executive producer for My Wife and Kids and The
Hughleys. She also was a supervising producer on the
The Parent Hood; a producer on Living Single; and a
story editor/consultant on The Fresh Prince of Bel Air,
Roc, and Getting By.
Television Writing:
Writing the 1-Hour Spec
Drama Script m

Mirroring the process that professionals undergo in
current episodic series production, this course guides
you to write a solid first draft of your script and work
on polishing it. You begin by refining your story idea and
outline as needed, and then write your script, focusing
on capturing the essence of the show through its fouract structure, plot and story, multiple storylines, characters, scenes, and dialogue. On the business side, you
learn how to develop your career game plan and hear
from industry guest speakers on the business of the
one-hour drama. Students must bring a complete
outline to the first class. All student projects must focus
on current shows; no pilots. For technical requirements
see page4. Prerequisite: X 430.4 Beginning Writing for
the 1-Hour Spec Drama: Building the Story and Outline.

Reg# 264254CA
Apr 6-Jun 8
Joan B. Weiss, television writer/producer, WGA member who served as a supervising producer/writer on
White Collar, Unforgettable, and Journeyman. Ms. Weiss
was a writer/producer on Eureka, Everwood, and Summerland. Her other writing credits include Gilmore Girls;
Sabrina, the Teenage Witch; and Grace Under Fire. She
was also a staff writer on Aaron Sorkins Sports Night.
Writing the Half-Hour Spec

Comedy Script m

This workshop guides you to write a solid draft spec
script from your half-hour comedy outline and move as
far ahead as you can in polishing it. You begin by
reworking your outline to simplify your story, nail down
the essence of your characters, focus and tighten
scenes, create mood and pacing, and punch up dialogue from the blueprint youve created. You then move
to the writing and polishing stage. On the business side,
you deepen your knowledge of the current comedy
series marketplace and map out basic career building
strategies. Students must have a complete outline
coming into the course. All student projects must focus
Half-Hour Spec Comedy: Building the Story and Outline.
Reg# 264250CA
Apr 6-Jun 8
Kevin Kelton, Emmy-nominated television writer and
producer whose writing credits on numerous network
series include Saturday Night Live, Boy Meets World,
Night Court, and A Different World. Mr. Kelton has written and produced for ABC, CBS, NBC, FOX, FX, AMC,
and the WB. He also has written screenplays for Warner
Bros., original pilots for HBO and FX, and articles for
National Lampoon.
Television Writing:
Advanced Courses
Advanced Pilot Writing
Boot Camp m

In this advanced workshop, you turn an idea for an
original one-hour drama or half-hour comedy into a first
draft that introduces your shows unique world, characters, tone, and style. You focus on creating the first
episode pilot and receive intensive weekly guidance and
feedback. The course goal is to write a first draft that
can be developed and has potential to be sold to a
television network. The course goal is to write a full
draft that can be developed ultimately to sell to a television network. Those students who submit a finished
pilot at the end of class receive a one-on-one individual
consultation session with instructor. For technical
requirements see page4. Prerequisite: Writing sample
of a spec script or original pilot submittal is required;
for instructions on submitting a script see page161.
Course may be taken as a certificate core requirement
or elective. Enrollment limited to 12 students. Restricted
course; call (310) 206-1542 for permission to enroll.
Web enrollments automatically generate a Permission
to Enroll request. &
Reg# 264257CA
Fee: $685
Apr 13-Jun 15
Jacqueline Zambrano, writer/producer; WGA member
and multiple award nominee. Ms. Zambrano has written
for numerous shows, including CSI: Crime Scene
Investigation and Star Trek. She also has created and
executive produced dramatic television series for Fox,
CBS, Pax, Showtime, and the Internet.
160
Writers Program
Going to AWP16?
Well See You There!
The Writers Program will be one of more than 700 writing programs,
bookstores, publishers, and writing-related businesses at the 2016 AWP
Bookfair and Conference, the largest literary event in the U.S.
Visit us at booth #1423 in the Bookfair Exhibit Hall to spin the prize
wheel, learn more about our writing courses and programs, or attend
one of our 2 informative panels featuring Writers Program instructors,
all of whom are published authors or industry professionals.
Living Fictions: Writing in L.A.
Instructors Noel Alumit, Francesca Lia Block, Maria Amparo Escandon,
Jim Gavin, and Marisa Matarazzo discuss L.A.s inf luence on fiction.
Page Meets Screen: The Mercurial Marriage of Fiction and Film
Instructors Chrysanthy Balis, Billy Mernit, Nancy Nigrosh, and
Michael Weiss discuss the types of literary bestsellers that make it onto
the big screen.
AWP16 Bookfair and Conference
Los Angeles Convention Center
March 30April 2, 2016
Screenwriting
Choose the right course for you. For advisement on screenwriting courses call Chae Ko
at (310) 206-2612 or Jeff Bonnett at (310)
206-1542.
Many screenwriting courses also are offered
online; see page158.
Special Topics for Film

& Television Writers
NEW COURSE
Take the Stage: A Workshop for Film

and TV Writers Looking for an Edge

Beau Willimon (creator and show runner, House of
Cards), Aaron Sorkin (Steve Jobs, The Social Network),
and Sheila Callaghan (writer and producer, Shameless)
are among countless television and film writers who got
their start in the theatre, and who continue to work in
both mediums. Agents and producers often read plays
with the goal of finding a writer who excels at character-driven storytellingwhich is at the heart of theatre.
In this course, you learn tools to deepen your characters, expand on new plot ideas, and most importantly,
find your own unique voice as a writer. You first explore
the fundamentals of play construction and writing
techniques, writing frequently to master the art and
craft of playwriting, culminating in a one-act play or one
act of a play. You then learn to apply your new-found
skills to your own film or TV script, and have the best
ten pages ready to be performed by actors in the final
class. Course may be taken as a certificate program
kkk
Reg# 264355CA
Laurel Ollstein, MFA, award-winning playwright whose
play Cheese was published by Original Works Publishing. Ms. Ollsteins work has been produced around the
country, including Esthers Moustache, Blackwells
Corner, Insomniac, and The Dark Ages, among others.
Her essays have been published by Freshyarn.com and
Tiny Lights: A Journal of Personal Narrative.
NEW COURSE
The Art of the Tell: Crafting Stories for

a Paperless Performance

The tradition of oral storytelling goes back to the beginning of language. Early man would sit near his recent
invention, fire, and enthrall the clan with tales of his
harrowing adventures while hunting. And Mitochondrial
Eve would complain about her back-breaking, mindnumbing life of tedious gathering. Fast-forward c.
100,000 years and we are still telling stories. Our lives
are an anthology of stories. A new format, storytelling
performance, is popping up in cafs, on podcasts, and
theaters: The Moth, Sit n Spin, Eat Your Words, Public
School, Two-Headed Beast, Risk! and dozens more. This
six-week course takes our primal need to tell our stories
and celebrates the simplicity of the form (sans fire) and
guides you to craft a compelling 1,500-word story
based on a real event. You focus particularly on structure, language, dialogue, emotion, authenticity, and
performance. The final class session is a salon, where
you tell your stories to an invited audience of friends
and family and experience the thrill of telling your tale,
without reading it, live and in-person. You dont need to
be an actor; you need to tell a great story in a dynamic
way. Enrollment limited to 15 students.
kkk
Reg# 264358CA
Westwood: 121A Extension Gayley Center,
1145Gayley Ave.
Thu 7-10pm, Apr 7-May 12, 6mtgs
Lisa Medway, screenwriter; WGA member whose
credits include Silver Spoons, Duet, The Nanny, Baby
Talk, and pilots for NBC, Fox, and Disney Channel. Ms.
Medway has written in numerous comedy genres,
including animation, feature films, and humorous prose,
and is the co-author of ME 101 (Warner Books Publishing). She is a recipient of the UCLA Extension Outstanding Instructor Award in Screenwriting.
Reg# 264336CA
Dan Vining, screenwriter and novelist; WGA member
whose feature film credits include Black Dog for Universal Pictures and Plain Clothes for Paramount. Mr.
Vining has written screenplays for Walt Disney Pictures,
MGM, Paramount, and Showtime, and his novels
include The Quick; The Next; and his latest, Among the
Living (Penguin-Putnam). He is a contributing author to
Cut to the Chase (Gotham Books/Penguin).
X 440B Film & Television 3units

This second in a four-part sequence in writing a feature film script has you hit the ground running. You
begin by pitching your story based on your outline and
revising it to make sure the premise can carry the
entire movie. Armed with a workable outline, you then
flesh it out into either a beat sheet or treatment (at the
instructors discretion) and begin writing your screenplay. Personalized feedback along with mini-lectures
on key craft points, including character development,
story structure, and conflict, help you to meet the
course goal, which is to write Act I (approximately 30
pages). May be repeated for credit. Prerequisite:
X 440A Writing the First Screenplay I. Students must
bring a four-to-five-page outline they created in Writing
the First Screenplay I to first class meeting and be
prepared to pitch it. Course may be taken as a certificate core requirement. Enrollment limited to 20
students. Visitors not permitted.
Reg# 264346CA
Matthew Harrison, director whose feature film credits
include Rhythm Thief (Jury Prize, Sundance Film Festival), Kicked in the Head (executive producer Martin
Scorsese), Spare Me, and The Deep and Dreamless
Sleep, and whose television directing credits include
Sex and the City, Popular, and Dead Last. Mr. Harrison
received the UCLA Extension Outstanding Instructor
Award in 2008.
Reg# 264345CA
Andrew Guerdat, writer-producer; WGA member who
has sold feature screenplays to 20th Century Fox,
MGM, Walt Disney Studios, Village Roadshow Productions/Warner Bros., Disney Sunday Movie, and NBC,
and who is the author of the play Red Remembers. A
Award in Screenwriting, Mr. Guerdat is a contributing
Beginning Courses
Writing the First Screenplay I
X 440A Film & Television 3units

The first in a four-part sequence designed to take you
through the full process of writing a feature film screenplay, this course grounds you in the key craft elements
of story structure, plot, scene development, character,
theme, genre, and dialogue, and shows you how they
work together to grip an audiences emotions. You learn
how to create and evaluate story ideas; explore how
characters inner wants and immediate goals shape
and drive a screenplays action; see what constitutes
compelling plots and subplots; and learn how to construct a scene. Throughout the course, you complete a
series of exercises which serve as the basis for your
script outline, a prose description of your screenplay.
The course goal is to learn how to write effective,
compelling scenes and to create a four-to-five-page
outline that clearly delineates your scripts beginning,
middle, and end. The ability to write an effective outline
is a critical skill for the professional screenwriter, serves
as the basis for most pitches, and is required for admission into X 440B Writing the First Screenplay II. Course
may be taken as a certificate core requirement.
Reg# 264344CA
101A UCLA Extension DTLA,
261 S. Figueroa St.
Sat 10am-1pm, Apr 2-Jun 4, 10mtgs
Larry Wilson, screenwriter, director, and producer;
WGA member whose feature film credits include Beetlejuice, The Addams Family, and The Little Vampire. Mr.
Wilsons television credits include Tales from the Crypt,
The Year Without a Santa Claus, and Aliens for Breakfast. He previously worked as a story analyst for
Columbia, Warner Bros., Paramount, and Universal.
Reg# 264343CA
William Hasley, screenwriter; WGA member who has
sold feature scripts to 20th Century Fox, Universal, and
Warner Bros. Mr. Hasleys television credits include
Swift Justice; Ghost Stories; Murder, She Wrote; Kung
Fu; Young Riders; and Highway to Heaven. He also has
written pilots for Castle Rock, Columbia, Universal, and
Warner Bros. and is a published author.
Reg# 264339CA
Cynthia Hsiung, producer, writer, director, and
executive who served as a producer and head of
production for Young Hercules starring Ryan Gosling.
Ms. Hsiung developed The Larry Sanders Show and
Taxi Cab Confessions at HBO, and was a creative
executive for MTVs The Real World and Road Rules.
Additional credits include her award-winning feature
Shades of Love, as well as the TV series FanAddicts!
and Catching Hell.
kkk
Writing the First Screenplay II
Writing the First Screenplay III
X 440C Film & Television 3units

The third in a four-part sequence in writing a feature
film screenplay, this course focuses on the greatest
challenge facing screenwriters: writing the second act.
As you write these crucial 60 pages, you refine your
story outline; flesh out main and secondary characters;
continue to develop the art of the scene as it pertains
to type, choice, structure, and placement; and begin to
discover each characters unique voice. You also learn
the habits you need to sustain the work of writing a
screenplay. The goal is to write Act II. May be repeated
for credit. Prerequisite: X440A Writing the First Screenplay I and X440B Writing the First Screenplay II. Students must bring their beat sheets or treatments and
Act I to the first class meeting, and be prepared to
write. Course may be taken as a certificate core
requirement. Enrollment limited to 16 students. Internet
kkk
Writers Program161

Reg# 264347CA
Warren Lewis, MFA, screenwriter/producer; WGA
member who wrote Black Rain directed by Ridley Scott
and The 13th Warrior starring Antonio Banderas. Mr.
Lewis wrote, produced, and directed the documentary
Coming to Light. He has also sold and developed both
features and pilots for Warner Bros., FOX, Paramount,
Ensemble Entertainment and Sony Pictures, among
many others.
Writing the First Screenplay IV
X 440D Film & Television 3units

In the last of a four-part sequence in writing a feature
film screenplay, you reach FADE OUT. In the process of
writing Act III, you hone in on structuring conversations,
explore how to maximize your storys visual implications,
deepen scene writing skills, assemble scenes to form
powerful sequences, ensure your scripts central conflict
is resolved, and work on theme and imagery. Also covered are revision techniques and the business aspects
of feature film writing. The goal is to complete writing
your first feature film script. Prerequisite: X440A Writing
the First Screenplay I, X440B Writing the First Screenplay II, and X440C Writing the First Screenplay III.
Students must bring their beat sheets or treatments and
Acts I and II to the first class meeting and be prepared
to write. Course may be taken as a certificate core
Reg# 264348CA
UCLA: A20 Haines Hall
Philip Eisner, screenwriter-director and WGA member
who wrote Event Horizon for Paramount Pictures and
Firestarter 2: Rekindled for USA Networks. Mr. Eisner
also has worked as a contract screenwriter for Scott
Rudin Productions, Robert De Niros Tribeca Productions, Edward R. Pressman, TriStar, Universal Pictures,
and The Jim Henson Company. He is a contributing
UPDATED FOR 2016
The Power of Emotional Structure in

Film and Television Drama

We are all familiar with the motion picture or TV drama
whose plot falls nicely into place like pieces of a puzzle,
logical in every way, yet unmoving; its meaning unexpressed; its promise unfulfilled. Why does this happen?
Clearly, understanding plot is not the same as understanding writing. And cinema makes demands on the
screenwriter that are uniquely challenging, and go far
beyond the simplicity of a beginning, middle, and end.
Big screen or small, these creative problems can be as
hard to pin down as they are to solve, and always reside
in the story simmering beneath the plot. This is what
Emmy Award-winning instructor Peter Dunne calls
Emotional Structure, and without it a script can feel
empty and superficial, and fail to convey the essence
of what is trying to be said. This workshop covers the
key craft issues of plot, story, characters, and theme,
with a concentration on the emotional current beneath
the plot as the connective tissue and driving force of
your ideas. The course goal is to clearly define, develop,
and articulate your storys dramatic depth, and to map
its structure as you write your scripts outline. Prerequisite: One feature film or television writing course.
Reg# 264349CA
(nomtg 5/30)
Peter Dunne, writer; Emmy and Peabody Award-winning producer; WGA and PGA member, whose producing/writing credits include the dramas CSI: Crime Scene
Investigation, JAG, Thats Life, Melrose Place, Nowhere
Man, Savannah, and the miniseries Sybil. Mr. Dunne is
the author of Emotional Structure: Creating the Story
beneath the Plot (Quill Driver Press).
Outline and Act I

Designed for writers with at least one screenplay under
their belts, this workshop guides you to launch and
make significant headway on a new project. The goal
is to develop a strong premise that sustains your entire
script, create and refine the story outline, and write Act
I. Brief lectures on craft issues based on the demands
of the participants work supplement the workshop.
Prerequisite: X440A Writing the First Screenplay I,
X440B Writing the First Screenplay II, X440C Writing
the First Screenplay III, and X440D Writing the First
Screenplay IV, or equivalent, or consent of instructor.
required to retrieve course materials. &
Reg# 264359CA
UCLA: 110 Haines Hall
Michael W. Barlow, producer and screenwriter; WGA
member who, as an executive at Paramount Classics,
oversaw Black Snake Moan and Mad Hot Ballroom. Mr.
Barlow worked as vice president of production at various major studios, including Orion Pictures (No Way
Out, House of Games, and Back to School). His writing
credits include the miniseries Kidnapped and the ABC
drama Family.

Acts II and III

This workshop guides you to complete your current
project. You focus on developing a successful second
and third act, with special attention given to structure,
character development, emotional content, and cinematic style. You also acquire self-editing techniques
essential for the professional writer. This is not a rewrite
course; you must be working toward the completion of
a feature-length script and have your outline and Act I
of your script in hand. For technical requirements see
page4. Prerequisite: X431.101 Feature Film Writing
Workshop: Outline and Act I, or equivalent, or consent
of instructor. Course may be taken as a certificate core
Reg# 264364CA
Donald H. Hewitt, screenwriter; WGA member whose
feature film credits include the English-language screenplay for Hayao Miyazakis Oscar-winning film Spirited
Away, My Neighbor Totoro, and the Oscar-nominated
Howls Moving Castle. Mr. Hewitt has written for Pixar,
Working Title, Miramax, New Line, and Disney.
Creating Powerful Scenes for Movies

and Long-Form TV Series:

The writing of powerfully constructed scenes featuring
compelling characters is the key to any screenplay or
dramatic teleplays success. This intensive workshop
gets you writing and rewriting your own scenes, and
arms you with a specific skill set that enables you to
improve and elevate your work. Drawing on great
scenes and sequences from memorable movies and
cable shows throughout the course, you learn to identify
the essential building blocks for the creation of dynamic
scenes; work with conflict, subtext, characterization,
dialogue, and imagery, get feedback that will up your
game; and make significant headway in creating an
eminently marketable screenplay or pilot. Prerequisite:
X440A Writing the First Screenplay I, X440B Writing
the First Screenplay II, X440C Writing the First Screenplay III, and X440D Writing the First Screenplay IV, or
equivalent, or consent of instructor. Course may be
taken as a certificate core requirement or elective.
kkk
Reg# 264366CA
Books/Penguin).
Advanced Courses
A script submission is required for these
advanced-level workshops which are primarily workshop-driven. It is recommended that
students take courses at the intermediate
level prior to submitting their work to an
advanced-level course.
Instructions for Submitting to an Advanced-Level
Course
Submit your work for advanced-level courses at uclaextension.edu/wpsubmit. You will be asked to send the
following materials electronically: an application form,
your writing sample, and a cover letter.
The submission deadline for spring quarter is February
29 at midnight (Pacific Time). All applicants will be
notifed regarding their enrollment at least two weeks
prior to the first day of class. If you are accepted, you
will be required to enroll at that time; full payment
of course fee is due upon acceptance. The Writers
Program is not responsible for submissions lost due
to Internet or mechanical failure. No comments or
critiques are provided on student submissions.
Occasionally submission deadlines are extended;
contact the Writers Program office at (310) 825-9415
for the most up-to-date information.
Advanced Rewriting Workshop

This advanced rewriting workshop is for writers who
want to take an already good script and make it great.
Through the process of analyzing and rewriting your
script, you develop a rewriting strategy with the goal
of preparing your script for the marketplace and
screenplay competitions. You must have a completed
first draft of a screenplay. Prerequisite: Submit a
sample feature-length screenplay you intend on
rewriting in the class; for instructions on submitting a
script see page161. Course may be taken as a certificate core requirement or elective. Enrollment limited to 12 students. Visitors not permitted. Restricted
Reg# 264371CA
Fee: $699
$100 nonrefundable; no refund after Mar 30.
Tom Lazarus, screenwriter-director; WGA member
whose credits includes Stigmata; Just You and Me, Kid;
Word of Mouth; and Voyeur Confessions. Mr. Lazarus
is the author of Secrets of Film Writing and Rewriting
Secrets for Screenwriters (St. Martins Press), as well
as THE LAST WORDDefinitive Answers to All Your
Screenwriting Questions (Michael Wiese Publishers).
Learn the Art

& Business of
Entertainment
Each quarter, top Hollywood
professionals teach courses in:
Acting
Cinematography
Development
Directing
Producing
The Music Business
Independent Music Production
Film Scoring
Page 100.
Television Writing
Beginning Courses
Beginning Writing for the One-Hour
Spec Drama: Building the Story and
the Outline

Modeled directly on how writers write in the real world
of one-hour dramas, this course focuses on what is
most central to creating a strong script as well as the
largest piece (40%) of the writers deal with any show:
the story and outline. You learn to choose the best story
for your spec script, map it out from beginning to end,
and write a strong outline in proper script format. In the
process, you learn how to identify and capture the tone,
characters, dialogue, and themes of any one-hour
drama seriesthe key to breaking into the field. Also
covered are the various genres (police procedurals,
medical, legal) and their specific rules; whats popular
in the current marketplace; and how to work within the
special requirements of timeslots, outlets, and styles.
The course goal is to master the process of constructing an airtight story and detailed outline so that you are
ready to write a script for any current show as quickly
and expertly as possible. All student projects must
focus on current shows; no pilots. Course may be taken
as a certificate core requirement. Enrollment limited to
20 students. &
Reg# 264373CA
Greg Elliot, television writer; WGA member whose
credits include Star Trek: Voyager, for which he was
nominated for a Sci-Fi Universe Award. Mr. Elliot was a
story editor on the WB series Savannah, an executive
story editor on the WB series Charmed, and wrote for
the Disney Channel series In a Heartbeat. He is the
Award in Screenwriting.
c UC credit
m Online course
& Text required
M Course held during daytime hours
162
Writers Program
The Writers Program

Congratulates the Winners
of the 2015 UCLA Extension
Screenwriting Competitions
Television Spec Writing
1st Place: Tim Drain, East of

Western (Action)
1st Place: Judy Bernardino, VEEP,

Mabel (Half-Hour)
2nd Place: Roma K. Simons,

Waiting at Hemmlers Cafe (Drama)
2nd Place: Lesley Marshall,

Supernatural, Kill Bill & Ted
(One-Hour)
3rd Place: Lucas Johnson-Yahraus,

Dusty Road (Comedy)
Television Pilot Writing
3rd Place: Catherine Kelleher,

Orange Is the New Black, Like a
Drug (One-Hour)
1st Place: Christina Strain, The Fox

Sister (One-Hour)
2nd Place: Moiss Zamora, Second
Coming (One-Hour)
3rd Place: Mike Anderson, Flawless
Execution (Half-Hour)
Applications for this years competitions are now available.

Deadline is April 1, 2016. For details and to submit your entry,
visit uclaextension.edu/swcompetitions.

writers@uclaextension.edu | (310) 206-1542
Beginning Writing for the

Half-Hour Spec Comedy:
Building the Story and the Outline

This course teaches you how to create an airtight story
and outlinethe critical first step in writing a strong
half-hour comedy spec script and a process that makes
writing your script much easier, faster, and more successful. You begin by learning how to pinpoint what
makes any half-hour comedy show tick, studying the
appeal and quirkiness of the main characters, and the
unique spin shows put on their stories. You then focus
on your own script for a current show, finding the story
and identifying the comedy in it, learning how to pitch
it, and creating a workable outline from which to write.
Instruction also covers the need to know business
aspects of the half-hour show, such as the current use
of spec scripts to get jobs and the basics of how a
comedy writer works on staff, how freelance writers
move onto staff, how a writing staff is structured, and
how writers work collaboratively in the room. All
student projects must focus on current shows; no
pilots. Course may be taken as a certificate core
kkk
Reg# 264377CA
(nomtg 5/30)
Danny Kallis, showrunner/television writer/director;
WGA member who has created many shows including
The Suite Life of Zack and Cody, Suite Life on Deck,
and Smart Guy. Mr. Kallis has served as the executive
producer on series such as Lifes Work, Phenom,
Hangin with Mr. Cooper, and Whos the Boss? His other
writing credits include Mamas Family, Silver Spoons,
The Love Boat, and Taxi, among many others.
Reg# 264374CA
Eunetta T. Boone, television writer/executive producer,
WGA member who created and executive-produced the
UPNs comedy series One on One. Ms. Boone served
as co-executive producer for My Wife and Kids and The
Hughleys. She also was a supervising producer on the
The Parent Hood; a producer on Living Single; and a
story editor/consultant on The Fresh Prince of Bel Air,
Roc, and Getting By.
UPDATED FOR 2016
The Power of Emotional Structure in

Film and Television Drama

We are all familiar with the motion picture or TV drama
whose plot falls nicely into place like pieces of a puzzle,
logical in every way, yet unmoving; its meaning unexpressed; its promise unfulfilled. Why does this happen?
Clearly, understanding plot is not the same as understanding writing. And cinema makes demands on the
screenwriter that are uniquely challenging, and go far
beyond the simplicity of a beginning, middle, and end.
Big screen or small, these creative problems can be as
hard to pin down as they are to solve, and always reside
in the story simmering beneath the plot. This is what
Emmy Award-winning instructor Peter Dunne calls
Emotional Structure, and without it a script can feel
empty and superficial, and fail to convey the essence
of what is trying to be said. This workshop covers the
key craft issues of plot, story, characters, and theme,
with a concentration on the emotional current beneath
the plot as the connective tissue and driving force of
your ideas. The course goal is to clearly define, develop,
and articulate your storys dramatic depth, and to map
its structure as you write your scripts outline. Prerequisite: One feature film or television writing course.
Reg# 264349CA
(nomtg 5/30)
Peter Dunne, writer; Emmy and Peabody Award-winning producer; WGA and PGA member, whose producing/writing credits include the dramas CSI: Crime Scene
Investigation, JAG, Thats Life, Melrose Place, Nowhere
Man, Savannah, and the miniseries Sybil. Mr. Dunne is
the author of Emotional Structure: Creating the Story
beneath the Plot (Quill Driver Press).
The Anatomy of a Pilot

A new television show has exactly one shot at survival:
its pilot episode. If the viewer isnt grabbed in the first
hour, theyre gone forever. But what is a pilot? How is
it different from all other forms of screenwriting? What
makes a good one work and a bad one fail? And how
can you be sure yours is one of the winners? In this
intense, informative, and entertaining course, you learn
everything you need to know about what goes into a
winning pilot. You watch and dissect recent network and
cable pilots; examine character, theme and structure;
and discuss which pilots best launched their respective
series. Emphasis is on identifying the common structural elements of all successful pilots, gaining an
understanding of weekly franchise versus series
mythology, and crafting long-term character arcs. We
also discuss and develop student pilot ideas, help you
turn your idea into a concise pitch document (a twoto-three-page breakdown of concept, character, and
weekly story structure) and give you the tools you need
to make the big move from pitch document to pilot
outline and script. The course features guest speakers
who have written, directed, and/or produced their own
network television pilots. Course may be taken as a
certificate elective. Enrollment limited to 35 students.
Reg# 264378CA
Westwood: 204CD Extension Lindbrook Center
Richard Hatem, executive producer/screenwriter; WGA
member, who has created the television series Miracles
and The Gates for ABC. He has also written/produced
episodes of Tru Calling, Supernatural, The Dead Zone,
Grimm, and Once Upon a Time in Wonderland. Mr.
Hatem has served as executive producer on Syfys The
Lost Room and currently serves as executive producer
on Lifetimes Witches of East End and A&Es Damien.
Writing the One-Hour Spec
Drama Script

Mirroring the process that professionals undergo in
current episodic series production, this course guides
you to write a solid first draft of your script and work
on polishing it. You begin by refining your story idea and
outline as needed, and then write your script, focusing
on capturing the essence of the show through its fouract structure, plot and story, multiple storylines, characters, scenes, and dialogue. On the business side, you
learn how to develop your career game plan and hear
from industry guest speakers on the business of the
one-hour drama. Students must bring a complete
outline to the first class. All student projects must focus
the 1-Hour Spec Drama: Building the Story and Outline.
Reg# 264379CA
UCLA: A152 Bunche Hall
Richard Manning, MFA, television writer/producer;
WGA member whose credits include Farscape, Star
Trek: The Next Generation, TekWar, Beyond Reality
(which he co-created), Sliders, Fame, Knightwatch, as
well as features, TV pilots, animation, and webisodes.
Mr. Manning also has created and produced Fusion, a
web series pilot, and is a contributing author to Inside
the Room (Gotham Books/Penguin).
Writing the Half-Hour Spec

Comedy Script

This workshop guides you to write a solid draft spec
script from your half-hour comedy outline and move as
far ahead as you can in polishing it. You begin by
reworking your outline to simplify your story, nail down
the essence of your characters, focus and tighten
scenes, create mood and pacing, and punch up dialogue from the blueprint youve created. You then move
to the writing and polishing stage. On the business side,
you deepen your knowledge of the current comedy
series marketplace and map out basic career building
strategies. Students must bring a complete outline to
the first class. All student projects must focus on current shows; no pilots. Prerequisite: X 430.6 Beginning
Writing for Half-Hour Spec Comedy: Building the Story
and Outline. Course may be taken as a certificate core
Reg# 264380CA
Joe Fisch, television writer/executive producer; WGA
member who served as a co-executive producer for 3rd
Rock from the Sun and Boston Common and as a
showrunner for ROC and Just for Kicks. Mr. Fisch was
a writer/producer for Step By Step, A Different World,
and Whos The Boss. He has written/produced pilots for
HBO and FOX and sold pilots for NBC, Showtime,
Lifetime, Universal, and Dreamworks.
Writers Program163

Writing the Original One-Hour
Drama Pilot

Before they hire you to write for television, executives
and showrunners want to read an original spec pilot
that shows your unique perspective and demonstrates
solid writing skills. In this workshop, learn how to take
your original idea for a one-hour drama pilot and
develop a strong hook, break the story into acts, and
create powerful character arcs and voices. Breaking
story in the style of a real writers room, you learn how
to develop a compelling story, brainstorm, and support
anothers vision. By the end of course, you have strong
act breaks, a full beat outline, and a critique of the first
10 pages of your original spec script. Prerequisite:
X430.4 Beginning Writing for the One-Hour Spec
Drama: Building the Story and Outline and X431.4
Writing the One-Hour Spec Drama Script, or equivalent,
or consent of instructor. Course may be taken as a
certificate program core requirement or elective. Enrollment limited to 16 students. &
Reg# 264382CA
UCLA: A152 Bunche Hall
Wed 7-10pm, Apr 6-Jun 8, 10 mtgs
Richard Manning, MFA, television writer/producer;
WGA member whose credits include Farscape, Star
Trek: The Next Generation, TekWar, Beyond Reality
(which he co-created), Sliders, Fame, Knightwatch, as
well as features, TV pilots, animation, and webisodes.
Mr. Manning also has created and produced Fusion, a
web series pilot, and is a contributing author to Inside
the Room (Gotham Books/Penguin).
Writing the Original Half-Hour

Comedy Pilot

Television executives and showrunners want to read
original pilots that demonstrate your unique voice and
comedic sensibilities. This workshop shows you how to
take your original comedy idea and develop a strong
story, rife with memorable characters and even funnier
jokes. Breaking story in the style of a real writers room,
you develop a compelling story, brainstorm, and support
others visions. By the end of the course, you have
strong act breaks, a full beat outline, and a critique of
the first 10 pages of your original half-hour pilot script.
Prerequisite: X 430.6 Beginning Writing for the HalfHour Spec Comedy: Building the Story and Outline and
X 431.6 Writing the Half-Hour Spec Comedy Script, or
Reg# 264381CA
Margaret Oberman, Emmy-nominated television
writer-producer; WGA member who is the co-creator of
the BBC series Too Much Sun and has sold numerous
pilots to ABC, CBS, HBO, and Nick at Nite. Mrs. Obermans credits also include Saturday Night Live, Army
Wives, and the Eddie Murphy Special, and her screenplays include Troop Beverly Hills and The Man, featuring
Samuel L. Jackson.
Finishing the Original One-Hour

Drama or Half-Hour Comedy Pilot

This workshop guides you to write a solid draft of an
original pilot script from your one-hour or half-hour
outline created in a previous course. You start by
reworking your story idea and outline as needed, fixing
story problems and maximizing the drama or comic
potential. Special attention is paid to refining the world,
characters, tone, and story of your pilot. You then move
toward completing a polished first draft of your script,
working on scenes, dialogue, and action, until it captures your original vision and matches a networks likely
requirements. You must bring a completed story outline
and first 10 pages to the first day of class. Prerequisite:
X430.7 Writing for the Original One-Hour-Drama Pilot
or X431.7 Writing the Original Half-Hour Comedy Pilot,
or equivalent, or consent of instructor. Course may be
taken as a certificate program core requirement or
elective. Enrollment limited to 16 students. &
Reg# 264383CA
Phil Kellard, writer-director; WGA member who was
executive producer on The Wayans Brothers and Martin,
and producer on Doogie Howser, MD, and who has
written pilots for The Disney Channel, Showtime, FBC,
and Syfy. He currently serves as a creative consultant
for CBSs The Inspectors. Mr. Kellard received an Emmy
Award for instructional programming and the UCLA
Extension Outstanding Instructor Award in Screenwriting, and is a contributing author to Inside the Room
(Gotham Books/Penguin).
Creating Powerful Scenes for Movies

and Long-Form TV Series:

The writing of powerfully constructed scenes featuring
compelling characters is the key to any screenplay or
dramatic teleplays success. This intensive workshop
gets you writing and rewriting your own scenes, and
arms you with a specific skill set that enables you to
improve and elevate your work. Drawing on great
scenes and sequences from memorable movies and
cable shows throughout the course, you learn to identify
the essential building blocks for the creation of dynamic
scenes; work with conflict, subtext, characterization,
dialogue, and imagery, get feedback that will up your
game; and make significant headway in creating an
eminently marketable screenplay or pilot. Prerequisite:
X440A Writing the First Screenplay I, X440B Writing
the First Screenplay II, X440C Writing the First Screenplay III, and X440D Writing the First Screenplay IV, or
Reg# 264366CA
Books/Penguin).
Success!
UCLA Extension classes are my go-to recommendation for anyone looking to take writing
classes. Their instructors know what the hell
theyre talking about and in 10 weeks you get
a very real crash course on what to do and
what not to dowhich is invaluable. Its
because of instructors like Joel Thompson
that I was able to write a solid script and
ultimately land a manager at Art/Work
Entertainment.
Christina Strain, Writers Program
Student and 1st Place Winner of the
UCLA Extension Pilot Writing
Competition
Christina Strain

(310) 2061542 | writers.uclaextension.edu
Advanced Courses
Writing the Half-Hour Comedy Pilot:
Advanced Workshop
X 432.6B Film & Television 3units

A key component of every television writing portfolio is
an original writing sample which illustrates both the
voice and saleable capabilities of a new writer. This
workshop guides you to develop a half-hour premise
that combines your original vision with a networks likely
requirements. From the idea to pilot story structure and
finished script, your goal is to create a half-hour comedy pilot that effectively establishes ongoing series
elements while bringing your characters to life. This
course is open to those who wish to write animated
pilots as well as live action. Prerequisite: Submit a halfhour spec script or original pilot; for instructions on
submitting a script see page161. Course may be taken
as a certificate core requirement or elective. Enrollment
limited to 12 students. Visitors not permitted. Restricted
Reg# 264385CA
Fee: $699
Barry Vigon, MFA, writer-producer; WGA member
who served as a supervising producer on Veronicas
Closet, as well as a co-executive producer on Malcolm
& Eddie and Martin, and a producer on Something
Wilder. Mr. Vigon has written for series including
Sabrina, the Teenage Witch, Soap, Roseanne, and
Fame, and has also created pilots for CBS, NBC, ABC,
and The Disney Channel.
Course Icons
Provide
Information
At-a-Glance
Professionally Polishing Your

Finished One-Hour Drama Pilot:
Advanced Workshop

The difference between a first draft and a winning script
sale is the level of professional, practical feedback you
receive. But how do you gain this kind of access?
Instructor Victoria Wisdom, who has represented multiple Academy Award-winning writers in both television
and film, provides solid support for this development
process. In this course, you put the final polishing
touches on your finished one-hour pilot, strengthening
structure, characters, and dialogue, as well as honing
the clarity of your original idea. The classroom is
designed to resemble a professional story meeting
where ideas are vetted, shared, and evolved to support
the writers process. Take the time to finish your pilot
at a more sophisticated level and see the results of your
new insights. Prerequisite: Submit a one-page synopsis,
along with the first 20 pages of your one-hour pilot that
you will polish in the course; for instructions on submitting a script see page161. Enrollment limited to 12
students. Restricted course; call (310) 206-1542 for
permission to enroll. Web enrollments automatically
generate a Permission to Enroll request.
Reg# 264384CA
Fee: $415
UCLA: 122 Haines Hall
Tue 7-10pm, Apr 12-May 17, 6mtgs
Victoria Wisdom, producer/manager and former literary agent at ICM, who represented the Academy Awardwinning careers of Christopher McQuarrie (The Usual
Suspects), Ernest Thompson (On Golden Pond), and
directors Bryan Singer (X-Men), and Lone Scherfig (An
Education). Ms. Wisdom also was a partner at Becsey
Wisdom Kalajian Agency (BWK), and sold the hit CBS
drama series Criminal Minds.
m Online course
& Textbook required
M Meets during daytime hours

e Credit course may not be taken
passed/not passed

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150

Enroll at uclaextension.edu or call (800) 825-9971

Creative Writing General Interest

The Art, Craft, and Business

For More Information

The Essential Beginnings of Fiction

X 401A English 2units

True Fiction: Writing Stories Inspired

X 400.03 English 2.5units

The Art of the Tell: Crafting Stories for

X 432.77 Film & Television 2units

X 448.10A English 1.5units

Enroll at uclaextension.edu or call (800) 825-9971

The Phyllis Gebauer

Thu, Jun 8, 7-9:30pm

This needs-based scholarship program is funded by the late Phyllis

(Doors open at 7pm; readings begin at 7:30pm.)

Skirball Cultural Center, 2701 N. Sepulveda Blvd.

Up to 10 scholars are named annually, and each of the recipients is

Applications will be available in March.

For More Information

For More Information

Inspired to Write: How to Embrace

Writers Tool Kit: How to Tell a Story

Writing that Fine Line:

Deadline to submit materials is June 27.

Introduction to Short Fiction Writing

X 403A English 3units

Creative Writing: Short Story

XL 137 English 5units c

X 462.71 English 3units

Enroll at uclaextension.edu or call (800) 825-9971

Writing the Popular Novel

X 400.06 English 3units

Writing the Short Story:

X 461 English 3units

Instructions for Submitting to an AdvancedLevel Course

You too can achieve your writing goals.

For More Information

A manuscript submission is required for these

the first five pages of your novel, all double-spaced, for

also discussed. Prerequisite: Two fiction writing

X 446.7A English 3units

Novel Writing III: Works-in-Progress

X 446.7B English 3units

To submit your work for advanced-level courses, visit

The Art of the Short Story:

X 461.1 English 3units

Novel Writing IV: Advanced Workshop

X 446.7C English 3units

X 446.8 English 3units

X 407.2 English 3units

Enroll at uclaextension.edu or call (800) 825-9971

True Stories: Shaping Life into Art

X 400.04 English 3units

Writing the Personal Essay

X 401.30 English 3units

The Art of Creative Nonfiction

X 401.39 English 3units

Introduction to Writing the Memoir

X 401.72 English 3units

Stephen Cooper, MFA, PhD

Michael Buckley, MFA

Wendy Oleson, MFA, PhD