SUMMER QUARTER 2024
COURSE OFFERINGS
June 24–September 15
The world is waiting for people like you.
1
XIn Person
Class meetings are primarily held in person with the instructor and all
students in the same physical classroom.
m
Online
Course content is delivered through an online learning platform where
assignments are due regularly and you can engage with your instructor
and classmates.
A
Live Onlne
All class meetings are scheduled and held in real-time using Zoom,
allowing for live interaction with your classmates and instructors.
r Hybrid
A blend of in-person, online or live-online instruction.
7Web-Enhanced Course
Internet access required to retrieve course materials.
Course Schedules
Delivery format and/or ‘remote’ meeting times listed are subject to
change. Please refer to the UCLA Extension website, uclaextension.edu,
for up-to-date course information.
Asynchronous:students engage a variety of learning materials posted
on Canvas (that may include lectures, interactive discussion boards, and
quizzes) and interact with the instructor and other students using
messaging tools.
Synchronous: instructionoccursin-real time during a live, pre-sched-
uled Zoom session(s) where instructors and students interact.
R
Course Times
All times quoted in this document’s course desciptions are Pacific Time.
For additional course and certificate information, visit uclaextension.edu.
R
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Use the entire course number, title, Reg#, or keyword from the course
listing to search for individual courses. Refer to the next column for a
sample course number (A) and Reg# (D). Certificates and Specializa-
tions can also be searched by title or keyword.
R
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Choose “Courses” from the main menu to browse all offerings.
R
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From your selected course page, click “View Course Options” to see
offered sections and date, time, and location information. Click “See
Details” for additional information about the course offering. Note:
When Online, Remote Instruction, and/or Hybrid sections are available,
click the individual tabs for the schedule and instructor information.
R
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R
Enroll by Phone
Call (800) 825-9971 Monday–Friday, 8am–5pm; use American Express,
Discover, JCB, MasterCard, or Visa.
ACADEMIC CALENDAR
Summer Quarter 2024
Classes begin June 24.
Enrollment begins April 29.
Fall Quarter 2024
Classes begin September 23.
Enrollment begins July 29.
Winter Quarter 2025
Classes begin January 6.
Enrollment begins November 4.
Spring Quarter 2025
Classes begin March 31.
Enrollment begins February 3.
CONTACT US
By Email:
By Mail:
UCLA Extension
1145 Gayley Avenue
Los Angeles, CA 90024-3439
In Person:
UCLA Extension
1145 Gayley Avenue
Monday–Friday, 8am-5pm
(800) 825-9971
Visit the
UCLA Extension
Website
UCLA Extension’s
Course Delivery
Options
82 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
Writers’ Program
Written Communication
For help in choosing a course, contact the Writers’ Program at
(310) 825-9415.
WRITCOM 702.1E
Résumé Writing Basics
Getting the attention of a potential employer is difficult in today’s
competitive market. Doing so in a digital world is even harder. Making
your résumé shine and highlighting your individual skills is certainly
an added advantage. In this three-hour workshop, you learn how to
transform your résumé into a powerful tool to get noticed. You learn
how to personalize your résumé to fit each job you apply to. You also
learn how to adapt a résumé for both digital and direct employment
opportunities. You leave the workshop with a better understanding of
how to craft a strong résumé as well as leave with a strong rough draft
that can be used for future employment opportunities.
Reg# 398239
Fee: $0
No refund after 9 Aug.
A Live Online
1mtg
Saturday, 10am-1pm, Aug.10
UCLA X Open
Enrollment opens two weeks prior to the event. Enrollment limited;
early enrollment advised. Visitors not permitted. 7
Scott Eagan, owner and acquisitions editor for Greyhaus Literary
Agency focusing exclusively on the traditional romance and women’s
fiction market. Mr. Eagan is an active member of the Romance Writers
of America, has provided freelance critique work with Writer’s Digest
and worked as a reviewer with Publisher’s Marketplace.
WRITCOM X401
Clear and Descriptive Writing
4.0units
Clear and Descriptive Writing focuses on the basics of sentence and
paragraph, providing tools to enable clear, focused and descriptive
essays and other writing objectives. Starting with focused sentence
exercises, you move toward creating clear, thoughtful and organized
paragraphs that employ tone, voice and diction. As well as complet-
ing exercises and writing assignments, you collect examples of
writing
—
both effective and ineffective
—
to present to the class in order
to share and examine writing strategies. Toward the end of the class,
students develop one essay-length piece of writing. In workshop
groups, you hone this piece and help classmates improve their work.
You leave with skills you can apply in various settings and with
different writing projects.
RRR
Reg# 398236
Fee: $745
No refund after 10 July
MOnline
June26-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jessica Barksdale, M.F.A., M.A., author of 15 novels including The Play’s
the Thing and a poetry collection, When We Almost Drowned. Ms.
Barksdale’s short stories, poems and essays have appeared in Com-
pose, Salt Hill Journal, The Coachella Review and Carve Magazine. She
is a professor of English at Diablo Valley College and teaches in the
MFA program at Southern New Hampshire University.
WRITCOM X402
Persuasive Writing
4.0units
Persuasive writing is all around us: in editorials, in advertising, social
media and even in the emails we write to friends and coworkers.
Persuasive messages can take the form of logical arguments, emotion-
ally charged rhetoric or short narratives (e.g., a TV ad). Designed for
writers of all experience levels, this course introduces you to major
persuasion theories from social and media psychology and to some
ideas from cognitive neuroscience relevant to persuasion in a manner
that is both accessible and fun. You complete exercises that help you
practice persuasive writing, participate in discussions and get feed-
back from peers. By the end of the course, you know how to choose
the best route to persuasion, considering your audiences’ motivation
and readiness to change and how to format and craft a message to
make it more persuasive.
Reg# 398238
Fee: $745
No refund after 10 July
MOnline
June26-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Carlos Allende, Ph.D. in media psychology with a concentration in
audience engagement and a self-directed concentration in media
neuroscience. Mr. Allende teaches psychology and researches the
motivational effect of compassion in securing engagement as well as
the paradoxically positive effect of stereotypical representation. His
fiction incorporates history with social satire. Rare Bird Books pub-
lished his novel Love, or the Witches of Windward Circle in 2015 and
he was a panelist on modern horror at the LA Times Festival of Books
in 2016. He won the 2019 Quill Prose Award with his novel Coffee,
Shopping, Murder, Love, which was published by Red Hen Press.
Creative Writing
For help in choosing a course or determining if a course fulfills
certificate requirements, contact the Writers’ Program at
(310) 825-9415.
Writers Studio
A four-day event consisting of 9 writing workshops taught by
some of the best screenwriting and creative writing teachers
in Los Angeles.
WRITING X461.28WS
Flash Fiction and Nonfiction
3.0units
This generative writing course is designed for those seeking to create
essays and/or flash fiction that are composed of complex layering of
memory and thought, history and imagination. The popularity of both
genres, the personal essay and flash fiction, has increased as a result
of today’s digital age at a time when work can be submitted to online
magazines and/or anthologies and also can be uploaded on personal
blogs or public spaces. Both genres are generally texts that are up to
1000 words and are highly marketable. The texts inspire both readers
and writers to discover new perspectives for looking at the world,
understanding their lives, and discovering meaning in random
moments from their lives. In this four-day course, you will have the
opportunity to explore your own writing, listen to talks and readings
by published writers who produce texts across genres, study market-
ing techniques, and in the process, generate new work that you will
have the opportunity to revise by participating in the workshopping
process. By the end of our four days together, you will craft at least
two texts
—
one essay and one flash fiction
—
and develop seeds for
other new work. Suitable for both new and experienced writers.
Because of the compressed timeframe, students can expect a mixture
of lecture, guest speakers, discussion, workshopping and in-class
writing time as part of their experience.
Reg# 397388
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable. 7
Sehba Sarwar, M.A., author of the novel Black Wings. Ms. Sarwar’s
writings have appeared in New York Times Sunday Magazine, Asia:
Magazine of Asian Literature, Callaloo and elsewhere. She has taught
writing workshops at University of Houston and through nonprofits.
For more information call Writers’ Program (310) 825-9415 Journalism (310) 825-7093.
WRITING &
JOURNALISM
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 83
WRITING X413.16WS
Novel Writer’s Starter Kit
3.0units
Writing a novel can be daunting at times. Although you ultimately have
to complete it on your own, it helps to work in a community of indi-
viduals for inspiration, support, and to brainstorm any and all ideas.
In this intensive workshop, you are part of a small group of writers
working towards the same goal
—
to write an amazing novel. Together,
we will take a step-by-step approach to go from ideation to creation
to revision while developing a sustainable writing practice that will
get the manuscript complete. We’ll explore developing three-dimen-
sional characters, understanding structure, plot, scene dynamics, and
the importance of editing and revision. We’ll examine story structures
through a globalist lens to find the structure that fits the story and
your voice as a writer. This workshop consists of reading assignments
(where you will learn what it means to “read like a writer”), in-class
exercises, assigned writing, lectures on craft, and the give-and-take
of critique workshops. The goal is to create a solid outline of your novel
(or a solid plan for finding your way to the heart of your story), write
the first chapter, and acquire the tools you need to move forward
and have fun.
Reg# 397387
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable. 7
Wally Rudolph, multi-disciplinary artist and author of the novels Four
Corners and Mighty, Mighty, among other works of creative writing.
Born in Canada to Chinese-Jamaican immigrant parents, Mr. Rudolph
is the former co-chair of the Asian American Writers Committee of the
WGA and writer-in-residence at the Annenberg Beach House.
WRITING X463.4WS
Creative Writer’s Boot Camp
3.0units
In this Writers Studio intensive, writers produce and revise new work,
deepen their knowledge of the craft of writing, gain a comprehensive
understanding of how to move forward with their writing vis-à-
vis publishing, retreats and conferences, and further workshops.
During the workshop, we devote time to the practice of safe, sup-
portive community feedback. In addition to writing and craft, Creative
Writing Boot Camp offers dedicated time to helping writers recognize
and neutralize the undermining powers of resistance and the Inner
Critic. The culminating project of this workshop is the creation of a
30-Day Writing Plan, designed to support writers for continued suc-
cess with a sustainable writing practice.
Reg# 397320
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable.
7
Lesley Hyatt, M.F.A. and Fulbright Scholar, has taught imaginative
writing to students of all ages and backgrounds for over 20 years. She
leads writing workshops and mindfulness groups at UCLA Extension
Writers’ Program, Skirball Cultural Center and privately throughout the
L.A. area and on Zoom.
WRITING X424.13WS
Preparing Your Manuscript for Publication
3.0units
In the ever-changing world of publishing, it is important to keep up
with best practices and industry protocols when selling your work.
Whether you have written a complete memoir, started a novel, outlined
a book of creative nonfiction, or have an idea for a book on personal
development, this course will help you to craft a winning angle for
your project, draft a traditional book proposal, and articulate where
your book fits into the market, guided by professional feedback and
advice. Each writer completing the four-day intensive will come away
with a captivating hook, a serviceable proposal, a deeper understand-
ing of publishing houses, editors and agents; a template for navigating
the submission manuscript process; and connections to a broader
writing community.
Reg# 397321
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable. 7
Shawna Kenney, M.F.A., award-winning author of the memoir I Was a
Teenage Dominatrix and contributing editor with Narratively magazine.
Her latest book is Live at the Safari Club and her essays have been
published in The New York Times, Playboy, Creative Nonfiction and
more.
WRITING X455.4WS
Literary Agent Search Prep
3.0units
Once you’ve completed your book, mastering the query letter and
synopsis are the first steps you will take on your path to traditional
publication. In publishing, 80-90% of all books bought by traditional
publishers are sold through literary agents. In order to land an agent,
you must craft a flawless query letter, and solid synopsis, which are
the keys to getting eyes on your manuscript. In this course, critically
acclaimed Simon and Schuster author and former literary agent Eve
Porinchak guides you in creating a stellar professional query letter
and a one-page synopsis, which will significantly strengthen your
chances of receiving an offer of representation from an agent. You also
learn how to create a strategic plan for researching, targeting and
landing the perfect agent for you and your work.
Reg# 397319
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable.
7
Eve Porinchak, former agent with Jill Corcoran Literary Agency, spe-
cializing in teen and adult fiction and nonfiction with social justice
themes. Ms. Porinchak is the author of One Cut, a true crime novel that
won the In The Margins Book Award honoring titles for youth that
tackle difficult topics, including gangs, homelessness, violence and
addiction.
SCRIPT X471.10WS
Comics and Graphic Novels
3.0units
There’s a fascinating series of tensions in comics. The tension between
word and image, between what’s seen and unseen, passive and active
readership, expectations and pay-offs, space and time and, of course,
the dramatic tension that makes a given scene engaging. There’s also
the tension that can arise between creative collaborators, so this
course will also explore what makes for good collaboration. Comics
are referred to as “the Ninth Art” in France, and it’s key to understand
the medium’s similarities and differences with artforms as deeply as
possible. A writer simply handing a screenplay to an art team and
asking them to go figure it out, for instance, is almost always a recipe
for disaster. A comics script that’s been carefully tailored to the form,
however, has far better chance to soar. Through a series of practical
workshops, lectures that make the most nuanced theories accessible
and helpful perspectives from a selection of working professional
guest speakers, this course will be giving you all the insight to make
the best comic possible.
Reg# 397391
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable. 7
Tom Pinchuk, TV writer, comic book writer and WGA member, whose
credits include Ben 10, 44 Cats and Gormiti: Nature Unleashed. Mr.
Pinchuk’s comics include Remember Andy Xenon, Clash of the Classics,
Max Steel, Moon Lake, Hybrid Bastards, Hero Hotel as well as stories
at Heavy Metal Magazine. He has also sold and written/developed/
consulted for Cartoon Network, Lion Forge Animation, Legendary
Digital, Bruckheimer Films and PBS, among many others.
SCRIPT X469.4WS
Pitching for Film and Television
3.0units
Aspiring film and television writers can spend years getting their
scripts to a place where they gain traction, earning them desired
meetings with industry professionals such as agents, managers,
producers, showrunners and executives. Many writers find themselves
unprepared for the opportunities that their hard word has earned. They
may get overwhelmed or feel ill equipped to communicate what is
special about their projects or why they, (with so many other writers
out there) should be hired for a particular writing assignment. In other
words, they don’t know how to pitch themselves and their projects.
There’s no way around it, pitching is an essential part of the business
and sometimes you “gotta tell it to sell it.” This course deconstructs
and demystifies the pitching process in a way that helps writers build
effective pitches and communicate them in a style that fits their
personality. We’ll explore the difference between pitching for film and
television, identify the commercial potential of your project, role play
industry pitching scenarios and empower you to pitch with confi-
dence. You’ll leave the course with a set of practical tools to help you
pitch your film or television project in a way that generates excitement
about you and your work.
Reg# 397392
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable.
7
Roberto Marinas, M.F.A., screenwriter/producer whose credits include
Lasso, Headgame and Alien Vs. Zombies. His award-winning screen-
play Last Road Home was selected for the 2007 Tribeca Film Festival,
and he is also a recipient of the Walt Disney Studios Screenwriting
Fellowship.
X IN PERSON, page 1.
m
ONLINE, page 1.
A LIVE ONLINE, page 1.
r HYBRID, page 1.
7 WEB-ENHANCED COURSE, page 1.
&&
TEXTBOOK REQUIRED
C
UC CREDIT
84 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
SCRIPT X410.2WS
Writing the Feature Film Treatment
3.0units
Learning to write a screenplay is a process, and to do it well can take
years of practice. This workshop offers two tried-and-true ways to
make a lot of progress in a short period of time as you: 1) learn how
to write a treatment and 2) get personalized feedback on your work.
A series of lectures and assignments help you master the basics of
screenwriting, especially the all-important screenplay structure, while
also exploring how to write strong characters. Boil down your story
into a short pitch and then expand that into a complete treatment for
a feature-length script. With a solid, entertaining treatment in hand,
you leave the workshop ready to conceptualize and begin work on
your own script beyond the classroom.
Reg# 397393
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable. 7
Koji Steven Sakai, M.F.A., award-winning screenwriter/producer/
novelist and W.G.A. member, whose feature credits include Damaged,
Boneyard, Ruthless, Skeletons in the Closet, Commando, Dying to Kill,
Monsters & Me, #1 Serial Killer, The People I’ve Slept With and Haunted
Highway. Mr. Sakai has produced a comedy special for Netflix and the
comedy series Comedy InvAsian, which premiered on Peacock.
SCRIPT X426.1WS
Showrunners Boot Camp
3.0units
How do you create a narrative dramatic series, sell it, and have the
series made, all while keeping your vision a priority in every aspect of
the creative process? This is the role of the showrunner
—
the lead
producer/writer on a television or digital series, responsible for the
creative vision along with the business and logistical aspects of a
series. There is currently a high demand for skilled showrunners, and
in this workshop, we focus on demystifying what a showrunner does.
This workshop is set up as a boot camp, exploring the breath of
knowledge a showrunner needs using hands-on exercises, lectures,
viewing of footage including dailies and rough cuts, discussing the
pilot script and series writing process, and giving notes on scripts
—
as
well as covering the practical issues of production, maximizing bud-
gets, and overall series logistics.
Reg# 397389
Fee: $985
No refund after 1 July
X In Person
4 mtgs
Thursday-Sunday, 10am-6pm, Aug.1-4
UCLA Extension Gayley Center: 1145 Gayley Ave.
This course is part of our once yearly Writers Studio intensive
workshop offerings and includes a welcome reception on
Thursday,Aug.1 at 9am.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. $150 nonrefundable.
7
Cynthia Hsiung, exec-producer, award-winning writer/director, who
served as a showrunner for Young Hercules, FanAddicts! and a sci-fi
series for Alibaba. She was part of the team that launched The Larry
Sanders Show, Taxi Cab Confessions and The Real World and a former
development exec for HBO, MTV and Warner Bros. She is the recipient
of the UCLA Extension Distinguished Instructor Award.
Basics of Writing
These basic creative writing courses are for students with no
prior writing experience. Instruction is exercise-driven; the
process of workshopping
—
in which students are asked to share
and offer feedback on each other’s work with guidance from
the instructor
—
is introduced. Please call an advisor at (310)
825-9415 to determine which course will best help you reach
your writing goals.
WRITING X400
Introduction to Creative Writing
2.0units
This six-week course is perfect for anyone just getting started on their
path to being a writer. Students work in small breakout sessions with
experienced writers and teachers, then attend a lecture by various
guest speakers with expertise in fiction, poetry, nonfiction or screen-
writing. Short assignments are workshopped in the weekly breakout
sessions. The goal of the course is to expose new writers to a variety
of types of writing while getting their creative juices flowing. At the
end of the quarter, students feel more confident about their skills and
are prepared for further study of writing.
Reg# 398205
Fee: $485
No refund after 27 July
A Live Online
6 mtgs
Saturday, 1-4pm, July13-Aug.17
Remote Classroom
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted. 7
liz gonzález, M.F.A., author of Dancing in the Santa Ana Winds: Poems
y Cuentos New and Selected (Los Nietos Press). Ms. gonzález’s creative
nonfiction, poetry and fiction appears in numerous journals and
anthologies, most recently in Inlandia: A Literary Journey, HTI Open
Plaza, Air/Light, Poets & Writers Magazine and the anthology San
Bernardino Singing. Her honors include a 2023 California Arts Council
Individual Artist Fellowship.
Reg# 398206
Fee: $485
No refund after 27 July
A Live Online
6 mtgs
Saturday, 1-4pm, July13-Aug.17
Remote Classroom
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted. 7
Norman Kolpas, author and editor whose several hundred nonfiction
pieces have appeared in many publications, including Bon Appetit,
HOME, Elle, Sunset, Southwest Art and The Times of London. Mr. Kolpas
is also the author of more than 40 nonfiction books and consults with,
and ghost writes for, many top personalities and brands.
WRITING X402
Finding Your Voice
2.0units
You’ve lived, listened, seen, had a childhood
—
there’s your raw material.
Now it’s a question of channeling and shaping that experience with
the tools of literary craft. In this beginner’s course, you explore the
basics of the three major genres
—
fiction, nonfiction and poetry
—
read-
ing and practicing within those areas of expression to help you find
the modes that best fit your story and your voice. Each week you turn
in short writing assignments that help you get your feet wet with craft
aspects like description, character, dialogue, etc. These assignments
culminate in a finished short story, essay, or poem that you present
on the last day of class to a supportive workshop.
Reg# 398207
Fee: $485
No refund after 14 Aug.
MOnline
July31-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Rachel Girty, M.F.A., from the Helen Zell Writers’ Program at the Uni-
versity of Michigan. Ms. Girty’s poetry and fiction have appeared in
Sinister Wisdom, Rabbit Catastrophe Review, Body Parts Magazine and
elsewhere. Currently at work on her first novel, she lives in Chicago,
where she works as a classical singer as well as a writer.
WRITING X403
Finding Your Story
2.0units
The scariest part of writing is staring at that blank page! This workshop
is for anyone who has wanted to write but doesn’t know where to start
or for writers who feel stuck and need a new form or jumping off point
for unique story ideas. The course provides a safe, playful atmosphere
to experiment with different resources for stories, such as life experi-
ences, news articles, interviews, history and mythology. A series of
in-class exercises explore or introduce different writing forms
—
such
as short stories, personal essay, plays, and even poems or songs
—
and
generate a notebook filled with unique story ideas from which you
craft several short pieces.
Reg# 398102
Fee: $485
No refund after 7 Aug.
MOnline
July24-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Rochelle J. Shapiro, author of Miriam the Medium and Kaylee’s Ghost.
Ms. Shapiro’s essays have been published in The New York Times and
Newsweek. Her short stories and poems have been published in many
anthologies and literary magazines, such as The Iowa Review, Sedge
and Moment.
WRITING X410
Fiction: Essential Beginnings
2.0units
Do you aspire to write creatively but don’t 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 have in hand a series of short sketches or a draft of a short
story and the key tools you need to write creatively.
Reg# 398101
Fee: $485
No refund after 7 Aug.
MOnline
July24-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
&&
Ella Martinsen Gorham, writer from Los Angeles. Ms. Martinsen
Gorham’s short stories have been published in New England Review,
ZYZZYVA, Carve, and Best American Short Stories 2019. She was a
finalist in the 2020 Raymond Carver Short Story Contest.
WRITING X420
Nonfiction: Essential Beginnings
2.0units
Sometimes the best stories are true. To help you turn your personal
experiences, anecdotes from everyday life and family stories into
compelling narratives, this workshop teaches beginning writers the
basic elements of good storytelling. You learn how to excavate memo-
ries and discover fresh or unexpected facets of your life stories.
Through weekly exercises, you generate new material and learn an
array of fictional techniques to tell your nonfiction story, including how
to play with voice, focus on a small unit of time and describe land-
scape and character. By the course’s completion, you have in hand a
series of short sketches or a draft of a nonfiction piece.
Reg# 397968
Fee: $485
No refund after 14 Aug.
MOnline
July31-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Roberta Wax, freelance writer; former reporter, United Press Interna-
tional; former president, Society of Professional Journalists, Los
Angeles Chapter. Ms. Wax is a contributor to many magazines and
newspapers, including the Los Angeles Times, Westways, Emmy and
Animation.
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 85
Special Topics for All Writers
Courses in this section are open to students who want a deeper
understanding of a specific craft issue or area of study. These
courses fulfill the elective requirement for creative writing
certificates. Please call an advisor at (310) 825-9415 to deter-
mine which course will best help you reach your writing goals.
NEW
WRITING 762.20E
Beyond Self-Esteem: 7 Fresh Hacks Around
Writer’s Block
Most attempts to deal with writer’s block focus on the writer’s emo-
tional state, particularly with regard to self-esteem. While these
approaches have value, other weapons are available to enter one’s
creativity that have nothing to do with one’s feelings. This workshop
introduces seven hacks to bypass writer’s block. This workshop will
be built around playful exercises drawing from playground games, TV
writers’ room pitch-outs, mystical consultation, and technology, among
other tools. Writers will complete the workshop with an arsenal of new
tools to defibrillate their creativity beyond intensive inner gazing.
Reg# 398145
Fee: $0
No refund after 20 July
A Live Online
1mtg
Saturday, 10am-1pm, July20
Remote Classroom
Enrollment opens two weeks prior to the event. Enrollment limited.
Visitors not permitted. 7
Along with Mr. Lien, this workshop is co-taught by Jerry Lee Davis,
author/playwright who has over 20 years’ experience teaching.
Henry Lien, J.D., UCLA Law. Mr. Lien teaches law in the Architecture-
Interior Design Department and was awarded Outstanding Instructor
of the Year. He practiced as an attorney, served as the Glass Garage
Gallery owner and as president of the West Hollywood Fine Art Gallery
Association. Mr. Lien currently works as a private art dealer and also
teaches for the Writers’ Program. His Peasprout Chen middle-grade
fantasy series has received New York Times acclaim and starred
reviews from Publishers Weekly, Kirkus and Booklist.
WRITING 755.5E
The Business of Writing:
Practical Skills for the Professional Writer
In the creative writing world, we often hear only what to do that might
garner the coveted publishing contract. But say you get that deal. Now
what? In this course, you’ll learn the strategies and tips to succeed
and continue to thrive as a professional writer. This includes: vision-
casting for your unique gifts and interests; marketing and branding
yourself and your work (and how to partner with a publisher in this);
whether and how to work with accountants, agents, and lawyers;
selecting strategic venues and events in which to participate; diver-
sifying revenue streams (through in-person appearances, workshops,
sales, and more); making your live readings sought-after events that
are engaging and resonant; and in all of it, knowing your worth and
confidently discussing money with all the relevant professionals.
Through focused lectures, illustrations, selected readings, and targeted
video excerpts, participants will gain clarity about how to navigate the
practical, behind-the-scenes realities to become
—
and remain
—
a
working author.
Reg# 398589
Fee: $0
No refund after 19 July
A Live Online
1mtg
Saturday, 10am-1pm, July20
UCLA X Open
Enrollment opens two weeks prior to the event. Enrollment limited;
early enrollment advised. Visitors not permitted. 7
Clifford Brooks, poet, professor, founder of the Southern Collective
Experience, editor in chief of The Blue Mountain Review and host of
Dante’s Old South. Mr. Brooks has written three collections of poetry:
The Draw of Broken Eyes & Whirling Metaphysics, Exiles of Eden and
Athena Departs: Gospel of a Man Apart. Learn more at cliffbrooks.com.
WRITING 761.11E
Using Micro Memoirs to Tell Your Story
Micro memoirs (300 words or less) are growing in popularity and offer
an opportunity for more, not less. You’ll learn how this short but ver-
satile form can help you shine a light on your lived experiences, with
tips on how to begin writing micro right away. You’ll learn how to
incorporate your work into a full-length memoir or creative nonfiction
project while studying examples from bestselling memoirists who
have mastered this highly effective storytelling form. If you’ve been
struggling with telling your story or are curious about new and innova-
tive forms, this is a great time to add micro memoirs to your writer’s
toolbox.
Reg# 398575
Fee: $0
No refund after 14 July
A Live Online
1mtg
Saturday, 10-11:30am, July13
UCLA X Open
Enrollment opens two weeks prior to the event. Enrollment limited;
early enrollment advised. Visitors not permitted. 7
Darien Hsu Gee, M.F.A., author of five novels published by Penguin
Random House that have been translated into eleven languages. Her
collection of micro essays, Allegiance, received the Bronze IPPY award
in the Essays category. Ms. Gee also received a 2019 Poetry Society of
America’s Chapbook Fellowship award for Other Small Histories and
the 2015 Hawai’i Book Publishers’ Ka Palapala Po’okela Award of Excel-
lence for Writing the Hawai’i Memoir. She is the recipient of a Sustain-
able Arts Foundation grant and a Vermont Studio Center fellowship.
WRITING X463.12E
Women’s Writing Weekend Workshop
1.5units
Women’s stories are as diverse as women’s experiences. In this course,
we focus on finding our voice on the page and allowing our writing
to emerge naturally, without judgment, all in a nurturing, women- and
female-identifying-empowered environment. The class is designed for
writers of all levels from the new writer looking to discover her voice,
to the experienced writer looking for creative inspiration. Through
writing prompts, in-class writing and sharing, strength-based feed-
back, and simple tools and tips, we create a supportive community
where every writer’s imagination is lit and nurtured. At the end of the
workshop, students will leave with multiple pieces that may be seeds
for future stories, develop into longer writing projects, or simply be
creatively satisfying, as well as a sense of being part of an uplifting
community of women writers.
Reg# 398103
Fee: $269
No refund after 26 July
X In Person
2 mtgs
Saturday, Sunday, 9am-5pm, July27-28
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Enrollment limited to 20 students; early enrollment advised. Visitors
not permitted.
7
Robin Finn, M.P.H., M.A., is the author of the new book, Heart. Soul.
Pen.: Find Your Voice on the Page and in Your Life and the novel, Rest-
less in L.A. Ms. Finn is the founder and creator of Heart. Soul. Pen.
women’s writing workshops, and Hot Writing where midlife and
menopause inspire the desire to write without apologizing. Her writing
has appeared in The New York Times, The Washington Post, The Los
Angeles Times, BuzzFeed, The Times of Israel, and Mamamia.
WRITING X461.29
Memoir Workshop for Teachers
3.0units
When we live a rigorous schedule, it’s easy to set aside one’s own
story. This writing workshop is for teachers to carve out time for
themselves and delve deeper into their journeys and explore their
personal histories and identities on the page. The workshop will offer
pathways and create space for teachers to step into being writers
and explore genres and document their lives. Using the workshop-
ping process, the sessions will create a safe space for writing and
feedback, identifying, place and setting, describing characters, PoV
and developing a critical lens. By the end of the session, participants
will have started larger projects which they can develop on their own
or in other workshops.
RRR
Reg# 396521
Fee: $50
No refund after 2 July
A Live Online
6 mtgs
Tuesday, 6-9pm, June18-Aug.6
Remote Classroom
No meeting July2 &9.
These weeks will include asynchronous online work.
Early childhood and K-12 teachers are eligible to enroll. Admission to
this course is by application only. All applicants must complete the
attached application to verify employment as an early childhood or
K-12 teacher.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Sehba Sarwar, M.A., author of the novel Black Wings. Ms. Sarwar’s
writings have appeared in New York Times Sunday Magazine, Asia:
Magazine of Asian Literature, Callaloo and elsewhere. She has taught
writing workshops at University of Houston and through nonprofits.
WRITING X461.3E
Gay Men’s Writing Workshop:
A Literary Approach to Writing About Gay Life
3.0units
This course is designed for students who want to examine gay men’s
lives in fiction and nonfiction. Discussions will include basic mile-
stones that have defined much of gay life, such as coming out, sex,
partnership and the AIDS crisis. We will explore what messages
writing about gay men’s lives brings to those outside our experience,
as well as ways we can communicate across this divide. Students will
read and discuss the best examples of gay fiction/nonfiction in order
to integrate their qualities into our own work, striving to say something
new and fresh in a very crowded and well-established field. By the
end of the course, students will have written three works of fiction and
nonfiction and completed a substantial revision of one of those pieces.
Reg# 398104
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Trebor Healey, author of three novels, a book of poetry and three
collections of short stories, as well as the co-editor of two anthologies.
Mr. Healey’s journalism on immigration has appeared in Newsweek
and Capital & Main and his erotic fiction has been selected for the
Best American Erotica series. He has taught numerous residential
writing retreats as well as several LGBT Youth writing workshops and
he is the recipient of a Lambda Literary Award, two Publishing Triangle
awards and a Violet Quill award.
WRITING X464.1
Voices of Color Workshop I
3.0units
A workshop for all underrepresented writers of color, where we take
a process-driven approach to create our own work that accurately
depicts our respective communities’ values in our own words. We
examine global story models to see how we can better write our lived
experience in the face of western systems of oppression and patriar-
chy. In this workshop, we work toward one practice in our art and our
lives. All are welcome.
Reg# 398105
Fee: $50
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 7-10pm, July2-Sept.3
Remote Classroom
Admission to this course is by application only. The priority deadline
for applications is Monday, June10 at 9am (PT). Applications submit-
ted after this date are not guaranteed consideration.
Enrollment limited to 15 students; early application advised. Visitors
not permitted. 7
Aatif Rashid, author of Portrait of Sebastian Khan. Mr. Rashid has
published short stories in The Massachusetts Review, Metaphorosis,
Arcturus and Barrelhouse; and nonfiction in The Los Angeles Review
of Books, as well as online on Medium. He currently writes regularly
for The Kenyon Review blog.
86 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
WRITING X463.7E
The Psychology of Compelling Storytelling
3.0units
Novice storytellers tend to associate the quality of a story with the
quality of its prose. While a clear and concise style will facilitate
understanding, the commercial success of “poorly written” books
demonstrates that good storytelling, the kind of storytelling that fas-
cinates and persuades, calls for a different skill: the ability to create
urgency. This is not an ordinary writing course. This course explains
how it is that stories engage and persuade and provides a theoretical
background of the mental processes that guide attention and decision
making as well as of the limits of cognition so that students can apply
that knowledge to the crafting of more engaging and more persuasive
stories. For that purpose, this course takes a multidisciplinary
approach to storytelling, borrowing concepts from media psychology;
communication studies; social psychology; and even seemingly
unrelated disciplines such as cognitive neuroscience and ethology,
the study of animal behavior.
Reg# 397969
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Carlos Allende, Ph.D. in media psychology with a concentration in
audience engagement and a self-directed concentration in media
neuroscience. Mr. Allende teaches psychology and researches the
motivational effect of compassion in securing engagement as well as
the paradoxically positive effect of stereotypical representation. His
fiction incorporates history with social satire. Rare Bird Books pub-
lished his novel Love, or the Witches of Windward Circle in 2015 and
he was a panelist on modern horror at the LA Times Festival of Books
in 2016. He won the 2019 Quill Prose Award with his novel Coffee,
Shopping, Murder, Love, which was published by Red Hen Press.
WRITING X460
Creative Writing Certificate Capstone
3.0units
This course satisfies the final requirement for Certificate in Creative
Writing candidates by providing a structured environment in which to
engage in activities that help writers move from workshop feedback
reliance toward self-directed writing and revision. Students articulate
a personal course goal that aligns with their larger goals as a writer,
then craft a plan to reach it by the end of the course. Independent
work on creative projects is supported by class discussions focused
on professional development and guest speakers who illuminate
different aspects of a writing life. By the end of the course, students
will reach their independent writing goal and complete a series of
written assets that help them transition to a writer’s life.
Reg# 398106
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Optional meetings to be held for guest speakers during Weeks 3-10
on Wednesdays at 6pm PT on Zoom.
Restricted course; only Creative Writing Certificate students who
have completed 18units are eligible to enroll. Enrollment limited to 15
students; early enrollment advised. Visitors not permitted.
7
Wendy Oleson, M.F.A., Ph.D., fiction writer, poet and essayist whose
work has appeared in journals and anthologies including Copper
Nickel, Baltimore Review, PANK and The Journal. She was a Van Sickle
Fellow and a recipient of a Washington Square Review Fiction Award,
the Elizabeth Bruss Prize and the storySouth Million Writers Award.
Fiction Writing
Beginning Fiction Writing
Courses in this section are recommended for students with
some prior writing experience. Instruction is a mix of lecture
and workshopping. With the close guidance of the instructor,
students share and offer feedback in a supportive environment
focused on assessing the strengths and weaknesses of their
work. Those new to writing should consider courses in the
Basics of Writing section. Please call an advisor at (310) 825-
9415 to determine which course will best help you reach your
writing goals.
WRITING X412.1
Short Story I
3.0units
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, ten-
sion, 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.
Reg# 398107
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Tantra Bensko, M.F.A., fiction writer, poet and award-winning author
with hundreds of publications, including four chapbooks, one novella
and two full-length fiction books. A graduate of the Iowa Writers’
Workshop, Ms. Bensko has a psychological suspense series, The
Agents of the Nevermind.
Reg# 398109
Fee: $720
No refund after 25 July
X In Person
10 mtgs
Thursday, 7-10pm, July11-Sept.12
UCLA: Rolfe Hall
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Pete Hsu, M.S., author of the short story collection If I Were the Ocean,
I’d Carry You Home and the experimental fiction chapbook There Is A
Man. Mr. Hsu’s writing has appeared in The Los Angeles Review,
Faultline Journal of Arts and Letters, F
®
iction Magazine and The LA
Review of Books.
Reg# 398108
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 6-9pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ron Darian, author and writer/producer whose fiction has appeared
in Fiction International, Inkwell and The MacGuffin, among many others.
Mr. Darian is also a WGA member whose television credits include
Frasier, Mad About You and 7th Heaven. He was recently nominated
for a Pushcart Prize.
WRITING X411.1
Novel I
3.0units
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.
RRR
Reg# 398111
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jessica Barksdale, M.F.A., M.A., author of 15 novels including The Play’s
the Thing and a poetry collection, When We Almost Drowned. Ms.
Barksdale’s short stories, poems and essays have appeared in Com-
pose, Salt Hill Journal, The Coachella Review and Carve Magazine. She
is a professor of English at Diablo Valley College and teaches in the
MFA program at Southern New Hampshire University.
Reg# 398113
Fee: $720
No refund after 17 July
X In Person
10 mtgs
Wednesday, 7-10pm, July3-Sept.4
UCLA: Rolfe Hall
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Melanie Thorne, M.A., award-winning author of the novel, Hand Me
Down (Dutton/Plume), named a Kirkus Reviews Best Fiction Book of
2012. Ms. Thorne’s short fiction and non-fiction have appeared in Global
City Review, Susurrus, and The Nervous Breakdown, among others.
Reg# 398112
Fee: $720
No refund after 20 July
A Live Online
10 mtgs
Saturday, 10am-1pm, July6-Sept.7
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Melissa Larsen, M.F.A., author of the psychological thriller Shutter. Ms.
Larsen has previously worked in publishing on both the literary
agency side at Writers House and the editorial side at Penguin Ran-
dom House.
WRITING X445.1
Young Adult Novel I
3.0units
The young adult novel is one of the fastest-growing and exciting
genres in publishing today. With complex young characters, realistic
dialogue and gripping prose, readers young and old can’t get enough
of these novels. In a supportive and inspiring environment, you
explore the elements of a YA novel’s plot, character, language, setting
and voice
—
all enhanced by in-depth lectures, discussions, manu-
script workshopping and generative writing exercises. Also covered
is the current marketplace for young adult fiction and how to query
agents. You leave the class with a completed first chapter and a
rough outline of your entire book, as well as the tools to continue
writing on your own.
Reg# 398114
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
&&
Jarrod Shusterman, New York Times bestselling author of Dry and
Roxy with National Book Award winner Neal Shusterman. He also
writes with his partner Sofía Lapuente, and they co-authored the novel
Retro and collaborated on Gleanings, the fourth installment of the
bestselling Scythe trilogy, which is currently being adapted for the
screen by Universal. His work has received many accolades, including
starred reviews in Kirkus, Publishers Weekly, and School Library
Journal as well as being a Green Earth Book Award Winner andGerman
National Book Award finalist.
Sofía Lapuente, co-author of novel Retro with her partner, Jarrod
Shusterman. Ms. Lapuente also collaborated on Gleanings, the fourth
installment of the bestselling Arc of a Scythe trilogy, which is currently
being adapted for the screen by Universal. She is a writer, screenwriter
and former producer and casting director on an Emmy nominated show.
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 87
WRITING X414.1E
Romance Novel I
3.0units
Romance novels generate just over one billion dollars in sales revenue
annually in the United States. With online platforms allowing authors
to learn to write better, find compatible publishers or publishing
options and market the work product, there has never been a more
welcoming climate for romance writers. Whether you’re an aspiring
author interested in learning the basics of writing a romance or an
experienced writer looking to refine your craft, Romance Writing I
provides students with the fundamental skills necessary to write a
romance novel. By studying samples from the genre and craft essen-
tials specific to the genre, students understand the building blocks of
the romance novel and create a “build out” for their own romance
novel in the first of this two-course sequence.
Reg# 398115
Fee: $720
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 6-9pm, July2-Sept.3
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jeannie Lin, USA TODAY bestselling and award-winning author of the
Lotus Palace mystery series and the steampunk Gunpowder Chronicles
series. Ms. Lin is a Romance Writers Association Golden Heart recipient
for debut novel Butterfly Swords. Her other works include Red Blossom
in Snow and the Princess Shanyin series.
WRITING X413.9E
Speculative Fiction and Magical Realism
3.0units
Reality is frequently inaccurate. Why not accurately depict that? This
workshop is dedicated to kick-starting your imagination with the help
of visualization and acting exercises, Oulipo writing prompts, and other
creative techniques. We take a leap beyond the ordinary with exam-
ples on how to craft an engaging alternate reality, flesh out an enthrall-
ing non-human character, or dream up an unforgettable story line in
space. At the end of 10 weeks, you have a better grip on how to apply
creative writing techniques designed to help you think outside the box
for your own speculative fiction story.
Reg# 398117
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Ploi Pirapokin, M.F.A., nonfiction editor at Newfound Journal and the
co-editor of The Greenest Gecko: An Anthology of New Asian Fantasy
forthcoming from Wesleyan University Press in 2021. Ms. Pirapokin is
featured and forthcoming in Tor.com, Pleiades, The Offing and more.
WRITING X462.2
Setting and Description
3.0units
Setting and description are foundational to a story and can support
larger themes well
—
if done thoughtfully with fresh and vivid language,
attention to detail, implication and perspective. They can, in effect, give
one’s characters a home or space to work within, as well as open up
possibilities for deepening and expanding the scope of any story. In
this reading and exercise-based class, we explore and practice
descriptive writing and its power in establishing setting and mood
while enlivening action and supporting symbolic relationships in
fiction and creative nonfiction. Each week, we read sample fiction and
creative nonfiction to identify how the content is influenced by the
description of setting, action, events and objects. By the end of class,
you have improved skills in writing descriptively to enrich and enliven
your work.
Reg# 398118
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 7-10pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Aatif Rashid, author of Portrait of Sebastian Khan. Mr. Rashid has
published short stories in The Massachusetts Review, Metaphorosis,
Arcturus and Barrelhouse; and nonfiction in The Los Angeles Review
of Books, as well as online on Medium. He currently writes regularly
for The Kenyon Review blog.
WRITING X462.3
Character and Conflict
3.0units
One of the most misunderstood concepts in the craft of fiction writing
is the relationship between character and conflict. A story can involve
a complex character with fascinating thoughts, ideas and interests,
but without a conflict that motivates the character to act, the ensuing
story will be stagnant and flat. In this class, we explore, through our
own writing and through published work, how to create richly imag-
ined characters and how to challenge them with conflicts that
threaten their hidden, most deeply held desires, forcing them to act
in ways that change the world around them. Each week, we read
sample fiction to identify craft tools that help us determine and convey
the flaws in our characters, flaws that then help us pick a conflicted
situation to push our characters into action. Weekly writing exercises
put theory into practice and help you discover what works (and
doesn’t) in your own writing practice.
Reg# 398119
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ross Showalter, fiction writer and essayist. Mr. Showalter’s stories,
essays, and criticism have appeared in Electric Literature, Strange
Horizons, Catapult, Black Warrior Review, and elsewhere. His work has
been included in Entropy Magazine’s Best of 2019 Online Fiction List.
Intermediate Fiction Writing
These courses are designed for students who have fulfilled the
prerequisites stated in each description. Instruction includes
lectures as appropriate, but the focus is on workshopping.
Students continue to share and offer feedback in a supportive
environment. Please call an advisor at (310) 825-9415 to deter-
mine which course will best help you reach your writing goals.
WRITING X412.2
Short Story II
3.0units
Focusing on close textual analysis and intensive writing practice, you
create two short stories and revise one in this ten-week workshop.
Weekly lectures on technique, analysis of published stories and in-
depth instructor, and peer critique develop and deepen your under-
standing of the art and craft of short story writing. Strategies for
approaching the marketplace are also discussed.
Prerequisite(s): WRITING X412.1 Short Story I or comparable workshop
experience.
Reg# 398121
Fee: $720
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 6-9pm, July2-Sept.3
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Ron Darian, author and writer/producer whose fiction has appeared
in Fiction International, Inkwell and The MacGuffin, among many others.
Mr. Darian is also a WGA member whose television credits include
Frasier, Mad About You and 7th Heaven. He was recently nominated
for a Pushcart Prize.
Reg# 398120
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Adam Prince, M.F.A., Ph.D., fiction writer whose short story collection,
The Beautiful Wishes of Ugly Men, was published by Black Lawrence
Press. His work has appeared in The Southern Review and Missouri
Review, among others. He is a Pushcart Prize nominee and a Tickner
Fellow at the Gilman School in Baltimore.
WRITING X411.2
Novel II
3.0units
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.
Prerequisite(s): WRITING X 411.1 Novel I or comparable workshop
experience.
Reg# 398124
Fee: $720
No refund after 16 July
X In Person
10 mtgs
Tuesday, 7-10pm, July2-30
UCLA: Rolfe Hall
Tuesday, 7-10pm, Aug.13-Sept.10
UCLA: Rolfe Hall
No meeting Aug.6.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Noah Lemelson, M.F.A., author of The Sightless City and The Lioness
and The Rat Queen. Mr. Lemelson’s novels have received positive
reviews from Publishers Weekly and Kirkus Reviews. He has contrib-
uted to WritersDigest.com and his short stories have appeared in
Planet Scumm, Interzone and the horror anthology ProleSCARYet: Tales
of Horror and Class Warfare, among others.
Reg# 398122
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Jennifer Chukwu, M.F.A., writer and visual artist from the Midwest and
author of The Unfortunates. Ms. Chukwu was a 2019 Lambda Literary
Fellow. Her work has appeared in New Delta Review, Black Warrior
Review, DIAGRAM and TAYO, and she has presented her writing and
art at University of Wisconsin-Madison, National Louis University, The
University of Manchester and elsewhere.
Reg# 398123
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 5-8pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
&&
Eduardo Santiago, author of Midnight Rumba and Tomorrow They Will
Kiss, which was an Edmund White Debut Fiction Award finalist. Mr.
Santiago’s short stories have appeared in ZYZZYVA, Slow Trains, The
Caribbean Writer and his nonfiction has appeared in the Los Angeles
Times, The Advocate and Out Traveler Magazine. He has taught creative
writing for fifteen years, most recently at Idyllwild Arts Academy. The
feature film of his screenplay, Proof Sheet, co-written with Richard
Kilroy, was released in 2023.
X IN PERSON, page 1.
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ONLINE, page 1.
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r HYBRID, page 1.
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88 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
WRITING X411.3
Novel III
3.0units
For those with a minimum of 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 participant’s project in detail. Refinements of character, structure,
emotional content and the development of the writer’s voice are also
explored. The goal is to produce a substantial portion of your novel.
Prerequisite(s): WRITING X 411.2 Novel II or comparable workshop
experience.
Reg# 398127
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 6-9pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
&&
Mark Sarvas, M.F.A., author of the novels Harry, Revised (Bloomsbury),
finalist for the SoCal Independent Booksellers First Novel Award; and
Memento Park (Farrar, Straus & Giroux), winner of the 2019 American
Book Award and finalist for the Sami Rohr Prize in Jewish Literature.
Mr. Sarvas is a member of the National Book Critics Circle and
PEN/America.
Reg# 398125
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
&&
Jacquelyn Stolos, M.F.A., author of the novel Edendale. Ms. Stolos’s
fiction and book reviews have been published in Bodega Magazine,
No Tokens, Necessary Fiction and more. Her awards and honors
include Georgetown University’s Annabelle Bonner Medal and fellow-
ships to attend the New York State Summer Writers Institute and the
Community of Writers. Edendale was named a literary finalist in the
2020 Forward INDIES Book of the Year Awards.
WRITING X414.2E
Romance Novel II
3.0units
This workshop-based course will support students who have com-
pleted Romance Writing I make demonstrable progress on a romance
novel (at least 20,000 words of a 50,000 word minimum novel). Weekly
word count and structure goals will be supported by peer and
instructor-led critique, and each student will develop a personalized
submission plan. Students may bring works in progress or new/in
development concepts, but completing Romance I or receiving
instructor approval will be required.
Prerequisite(s): WRITING X 414.1E Romance Novel I or comparable
workshop experience.
Reg# 398130
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 6-9pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Elise Forier Edie, M.F.A., playwright and author, whose credits include
the book and show, The Pink Unicorn and an award-winning romance
novel, The Devil in Midwinter. Ms. Forier Edie has received awards
from the National Playwrights Conference, United Solo Theater Fes-
tival, Artists Trust, the Washington State Arts Commission, the
Columbia Entertainment Company and Tangent Online. Her short
stories have also appeared in anthologies and magazines throughout
the US and Canada.
WRITING X416.2E
Science Fiction and Fantasy Novel II
3.0units
The second of a three-course sequence, this workshop expands on
the development of story concept, worldbuilding, character, and plot
explored in the first course. This second workshop focuses on critical
but underemphasized aspects of compelling science fiction and
fantasy novels, including plot structure and scenecraft. The workshop
also interrogates accepted tropes and structures of science fiction and
fantasy novels by exploring non-Western storytelling structures,
including the East Asian four-act structure and nested or circular story
structures from East Asia, South Asia and the Muslim world. The
workshop also includes a rigorous workshop within a workshop that
teaches students how to create a plot grid that will map out their novel
from the beat level all the way up to the act level, while tracking all
plot threads for rhythm and pacing. Students will learn how to shape
and manipulate that plot grid into a satisfying and deliberate act
structure. The goal is to complete fifty polished pages of a novel and
a work in progress version of the plot grid by the end of this three-
course sequence.
Prerequisite(s): WRITING X416.1E Science Fiction and Fantasy Novel I,
or departmental approval.
Reg# 398129
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 5-8pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
&&
Henry Lien, J.D., UCLA Law. Mr. Lien teaches law in the Architecture-
Interior Design Department and was awarded Outstanding Instructor
of the Year. He practiced as an attorney, served as the Glass Garage
Gallery owner and as president of the West Hollywood Fine Art Gallery
Association. Mr. Lien currently works as a private art dealer and also
teaches for the Writers’ Program. His Peasprout Chen middle-grade
fantasy series has received New York Times acclaim and starred
reviews from Publishers Weekly, Kirkus and Booklist.
WRITING X413.1E
Story Structure for the Novel
3.0units
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
are worksheets which focus on structural elements such as character
ghosts, story world and more. By the end of the course, you have in
hand a six-page synopsis that works.
Reg# 398128
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Optional live meetings will be held on Zoom Saturdays, 10 - 11 a.m. PT.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
&&
Caroline Leavitt, New York Times bestselling author who has published
11 novels, including her latest, Cruel Beautiful World. A critic for The San
Francisco Chronicle and People, Ms. Leavitt is a recipient of the UCLA
Extension Outstanding Instructor Award in Creative Writing.
WRITING X413.15E
Revising Your First Draft Novel
3.0units
You’ve just finished writing a first draft of your novel through “National
Novel Writing Month” (NaNoWriMo), or you’ve written your first draft
on your own. Now what? This workshop helps you move that first draft
forward by exploring strategies for revision and delving deeper into
the elements of novel writing, including shape, structure, point-of-view,
characterization, dialogue and different approaches to the use of time.
The class proceeds in two modes: lectures on the art of the novel and
its working components and close consideration of your draft, includ-
ing constructive in-class critique and written feedback. Participants
must come into the course with the completed first draft in hand.
Prerequisite(s): At least one fiction writing course and/or the course
Write a Novel in a Month as Part of National Novel Writing Month.
Reg# 398131
Fee: $720
No refund after 20 July
A Live Online
10 mtgs
Saturday, 10am-1pm, July6-Sept.7
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ian Randall Wilson, M.F.A., M.A., fiction writer and poet whose work
has appeared in North American Review, The Gettysburg Review, Alaska
Quarterly Review, and The Boston Literary Review, among many others.
Mr. Wilson’s story collection, Hunger and Other Stories, and his novella
Great Things Are Coming, were published by Hollyridge Press.
Advanced Fiction Writing
Advanced-level courses are primarily workshop-driven and are
designed for students who are well into their projects. Admis-
sion is by submission only and the selection process is competi-
tive. It is recommended that students take intermediate-level
courses prior to submitting their work. For instructions on
submitting work, contact the Writers’ Program at (310) 825-9415
or go to writers.uclaextension.edu/continuing-students. The
submission deadline for summer is June10 at 9amPT. Visitors
are not permitted in advanced-level courses.
Submission Guidelines for Advanced Fiction Writing Courses
Please note that there are no pre-approvals. To be eligible for an
advanced creative writing course, all students must submit one docu-
ment (double-spaced, 12-point font, 1-inch margins on all sides) con-
taining a 10-page writing sample, a synopsis of up to one page for any
longer submitted works (novels), a personal statement of one para-
graph outlining what the student hopes to gain from the class, and a
list of previous courses completed in the Writers’ Program or other
programs with instructors (when known).
WRITING X412.3
Short Story III
3.0units
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(s): WRITING X412.2 Short Story II or comparable workshop
experience.
Reg# 398132
Fee: $795
No refund after 25 June
A Live Online
10 mtgs
Tuesday, 7-10pm, July2-Sept.3
Remote Classroom
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted. $100 nonrefundable. Enrollment discounts limited to
WP NOW members; no other discounts apply.
The priority application deadline for applications is Monday,
June10 at 9amPT. Applications submitted after this date are
not guaranteed consideration.
Ben Loory, M.F.A., author of the collection Stories for Nighttime and
Some for the Day (Penguin), winner of the 2012 Nobbie Award for Book
of the Year. His stories have been published in The New Yorker, The
Rattling Wall, and The Los Angeles Review of Books, among others, and
performed on NPR’s This American Life.
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 89
WRITING X411.4
Novel IV
3.0units
For students with at least 100 pages of a novel, this advanced work-
shop 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.
Prerequisite(s): WRITING X 411.3 Novel III or comparable workshop
experience.
Reg# 398133
Fee: $795
No refund after 26 June
A Live Online
10 mtgs
Wednesday, 6-9pm, July3-Sept.4
Remote Classroom
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted. $100 nonrefundable. Enrollment discounts limited to
WP NOW members; no other discounts apply.
The priority application deadline for applications is Monday,
June10 at 9amPT. Applications submitted after this date are
not guaranteed consideration.
Francesca Lia Block, M.F.A., author of House of Hearts and The Thorn
Necklace: Healing Through Writing and the Creative Process and many
bestselling and award-winning novels, including The Elementals,
Beyond the Pale Motel, Dangerous Angels: The Weetzie Bat Books,
Necklace of Kisses and Roses and Bones. Ms. Block received the
Margaret A. Edwards Lifetime Achievement Award.
WRITING X411.5
Novel V
3.0units
For students who have completed Novel IV, this intensive workshop
is specifically directed toward refining an advanced manuscript into
a polished novel. The focus is on structural and thematic aspects and
the maintenance of the author’s unique voice. You work closely with
your peers and the instructor to assess portions of individual manu-
scripts. 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(s): WRITING X 411.4 Novel IV or comparable workshop
experience.
Reg# 398134
Fee: $795
No refund after 26 June
MOnline
July3-Sept.10
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted. $100 nonrefundable. Enrollment discounts limited to
WP NOW members; no other discounts apply.
The priority application deadline for applications is Monday,
June10 at 9amPT. Applications submitted after this date are
not guaranteed consideration.
Jessica Barksdale, M.F.A., M.A., author of 15 novels including The Play’s
the Thing and a poetry collection, When We Almost Drowned. Ms.
Barksdale’s short stories, poems and essays have appeared in Com-
pose, Salt Hill Journal, The Coachella Review and Carve Magazine. She
is a professor of English at Diablo Valley College and teaches in the
MFA program at Southern New Hampshire University.
Creative Nonfiction Writing
Beginning Creative Nonfiction Writing
Courses in this section are recommended for students with
some prior writing experience. Instruction is a mix of lecture
and workshopping. With the close guidance of the instructor,
students share and offer feedback in a supportive environment
focused on assessing the strengths and weaknesses of their
work. Those new to writing should consider courses in the
Basics of Writing section. Please call an advisor at (310) 825-
9415 to determine which course will best help you reach your
writing goals.
NEW
WRITING X424.28E
Writing the Family Narrative
3.0units
As writers, our ancestral history breathes through our bodies and
appears on the written page, whether we realize it or not. The stories
of those who came before us
—
and the legacies they bear, for better
or worse
—
are what we carry. We’ll use family history, gossip, and lore,
as well as photographs, ephemera, and other available documentation
to discover the factual and emotional truths of ourselves and our
families. We’ll explore different ways to tell these stories, even when
little information is known. Each week we’ll build a small body of
hybrid creative nonfiction work and look at what these narratives say
about us and the people in our lives.
Reg# 398403
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Darien Hsu Gee, M.F.A., author of five novels published by Penguin
Random House that have been translated into eleven languages. Her
collection of micro essays, Allegiance, received the Bronze IPPY award
in the Essays category. Ms. Gee also received a 2019 Poetry Society of
America’s Chapbook Fellowship award for Other Small Histories and
the 2015 Hawai’i Book Publishers’ Ka Palapala Po’okela Award of Excel-
lence for Writing the Hawai’i Memoir. She is the recipient of a Sustain-
able Arts Foundation grant and a Vermont Studio Center fellowship.
NEW
WRITING X424.27E
Planning Your Memoir (Two-Weekend Workshop)
1.0units
In this four-day workshop, we delve into the art of crafting your life’s
narrative, focusing on the pivotal role of timelines and outlines
—
the
beating heart and essential skeleton of any compelling memoir.
Through lectures and guided discussions, we will tackle challenges
such as defining what stories are compelling, assessing engaging
memories, and organizing your memoir coherently. We will explore the
ethics involved in writing a memoir based on your personal vignettes
and real-life characters, including considerations of what to include
and what to leave out. A memoir is factual and verifiable, so we’ll also
discuss how to approach controversial subjects while safeguarding
your personal narrative. By the end of this course, you will have a
comprehensive outline and perhaps the first pages of your memoir,
providing a solid starting point for your writing journey.
Reg# 398409
Fee: $325
No refund after 16 Aug.
A Live Online
4 mtgs
Saturday, Sunday, 10am-1pm, Aug.17-18
Remote Classroom
Saturday, Sunday, 10am-1pm, Aug.24-25
Remote Classroom
Enrollment limited to 20 students; early enrollment advised. Visitors
not permitted. 7
Victoria Zackheim, M.A., editor of six anthologies of personal essays,
including The Other Woman, For Keeps, The Face in the Mirror and
Faith. Her documentary, Where Birds Never Sang: The Ravensbruck and
Sachsenhausen Concentration Camps, aired nationwide on P.B.S. She
is a San Francisco Library Laureate.
WRITING X424.6E
Memoir and Personal Essay
Two-Sunday Workshop
1.5units
Everyone has a story (and often many stories) to tell, whether your life
has been a wild ride or a quiet stroll. This course is designed for those
interested in learning more about the similarities and differences
between the two forms and how to explore and shape your stories.
Through exercises, prompts and workshop, you begin work on several
stories; you may develop some of these into longer pieces, while
others may simply get your creative juices flowing. Because both
personal essay and memoir call upon the writer to dig deep and hover
patiently over the material of memory, this weekend’s worth of writing
and exploration gives you tools for staying the course long after the
actual class has finished.
Reg# 398221
Fee: $269
No refund after 6 July
X In Person
2 mtgs
Sunday, 9am-5pm, July7-14
UCLA: School of Public Affairs Bldg.
Enrollment limited to 20 students; early enrollment advised. Visitors
not permitted. 7
Amy Friedman, M.A., author of four memoirs, several children’s books
and thousands of essays and stories. Ms. Friedman’s most recent
memoirs are Desperado’s Wife (available on Amazon) and One Souffle
at a Time: A Memoir of Food and France (with Anne Willan). She is the
founder of the nonprofit P.O.P.S. the Club and is the editor and publisher
of an annual collection of personal essays and poetry, the most recent
(2019) is We Got Game. Ms. Friedman is a recipient of the UCLA Exten-
sion Outstanding Instructor Award in Creative Writing.
WRITING X421.1
Creative Nonfiction I
3.0units
This course explores the unlimited possibilities of creative nonfiction,
which embraces forms of creative writing such as personal essay,
memoir, profiles and more. Working with the same techniques as
fiction, including artful language choices, dialogue, character develop-
ment, structure and plot, you are guided to transform factual events
and experiences into a complete, imaginative narrative. This course
includes several readings 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.
Reg# 397970
Fee: $720
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 7-10pm, July2-Sept.3
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Robert Edward Anasi, Ph.D., author of Bohemia: Scenes from the Life
of Williamsburg, Brooklyn. Mr. Anasi’s works have appeared in the New
York Times, Salon, Virginia Quarterly Review and Los Angeles Times,
among others. He has received a New York Foundation for the Arts
Fellowship and a Schaeffer Fellowship.
Reg# 398209
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Grace Perry, author of The 2000s Made Me Gay: Essays on Pop Culture.
Ms. Perry is a contributor to The Onion, Reductress, Outside, BuzzFeed,
Eater, The Takeout, Chicago Magazine, and more. She is the co-creator
of the podcast series Who Killed Jenny Schecter? and was named “a
talented new voice,” by Publishers Weekly.
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ONLINE, page 1.
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90 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
WRITING X422.1
Personal Essay I
3.0units
“Personal Essay” is a broad term that encompasses essays, opinion
pieces and mini-memoirs
—
but which always details the writer’s
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.
Reg# 397971
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Michael Luongo, author or editor of 16 books, including Frommer’s
Buenos Aires and Argentina guidebooks. Mr. Luongo was twice named
Journalist of the Year for the North American Travel Journalists Associa-
tion. His journalism and photography work have appeared in the New
York Times, National Geographic Traveler, and Bloomberg News, among
many others.
Reg# 398211
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 7-10pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Brian Sonia-Wallace, author of The Poetry of Strangers. Mr. Sonia-
Wallace’s reportage has appeared in Rolling Stone and The Guardian
and he writes regularly for the LA County Department of Cultural
Affairs. He is the founder of RENT Poet, which produces live, custom
poetry for events and he has been the Writer-in-Residence for Mall of
America, Amtrak and the Boston Harbor Islands.
WRITING X423.1
Memoir I
3.0units
A memoir is a book-length narrative that is told from the writer’s point
of view and captures a meaningful slice of the writer’s 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 an outline
and a draft of one to two chapters.
Reg# 398215
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Jayanti Tamm, M.F.A., Pushcart Prize-nominated memoirist and fiction
writer whose first book, Cartwheels in a Sari: A Memoir of Growing Up
Cult was published by Random House. Ms. Tamm’s work has also
appeared in the anthology Forgotten Borough, the Huffington Post, and
The Washington Post, among others.
Reg# 398216
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 7-10pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Stephen van Dyck, M.F.A., author of the experimental memoir People
I’ve Met From the Internet (Ricochet Editions), which was nominated
for the New Mexico-Arizona Book Award. Mr. Van Dyck’s work has
appeared in Zyzzyva, The Gay & Lesbian Review, the LA Weekly, the LA
Review of Books, Hyperallergic and on Dennis Cooper’s blog.
WRITING X424.18E
Literary Journalism I
3.0units
Literary journalism is nonfiction prose that transcends “who, what,
where, and when” to give a more detailed, richer and vivid picture of
real events. It combines an immersive approach to reporting with the
aims and techniques of fiction. Although this type of writing has roots
in antiquity (i.e., Thucydides’s The Peloponnesian War), contemporary
practitioners include Tom Wolfe, Joan Didion, John McPhee and Gay
Talese. Today, literary journalism appears in periodicals such as The
New Yorker, The Atlantic Monthly, Esquire and Harper’s Magazine, as
well as in the magazines or literary supplements of many major
newspapers. By the end of the course, you have an understanding of
the basic techniques for reporting and writing such journalism and at
least one project started.
Reg# 398220
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Robert Edward Anasi, Ph.D., author of Bohemia: Scenes from the Life
of Williamsburg, Brooklyn. Mr. Anasi’s works have appeared in the New
York Times, Salon, Virginia Quarterly Review and Los Angeles Times,
among others. He has received a New York Foundation for the Arts
Fellowship and a Schaeffer Fellowship.
WRITING X424.21E
Storytelling for Social Justice
3.0units
Well-told, new narratives can change the world. Living in a time of
rising movements such as Black Lives Matter, MeToo, DACA/refugee
and immigrant rights, LGBTQ rights and more, students are encour-
aged to uncover stories that are not included in our history textbooks.
Through workshops, students gain access to pathways to explore
personal history, family narratives and stories amidst their communi-
ties. Students read and produce compelling creative nonfiction
—
mem-
oir, essays, literary journalism, blogging, audio/video recording, live
performance and more
—
to share with larger audiences. Integral to the
creation of new work is revision, peer feedback and literary work that
serves as models. By the end of the course, students have begun a
narrative in a format of their choice that they develop into a completed
project in order to share with the larger community.
Reg# 398218
Fee: $720
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 6-7:30pm, July2-Sept.3
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jessica M. Wilson, M.F.A., International, Chicana poet, born in East Los
Angeles. Ms. Wilson teaches poetry with California Poets in the
Schools. She founded the Los Angeles Poet Society and is a social
justice publisher for Los Angeles Poet Society Press, amplifying
QTBIPOC voices. Ms. Wilson has featured at The Broad Museum, profes-
sionally developed the Librarians of Santa Monica, the Puente Founda-
tion, Reforma (the LAPL branch of bilingual librarians). Her books of
poetry include: What Breathes, Raw Kit, Marie Morrison and Serious
Longing. Learn more at www.jessicamwilson.com.
WRITING X424.25E
Writing the Review
3.0units
Everybody’s a critic, or so they say. When you can share any and every
opinion on social media, what makes professionally published reviews
special? Why should one person’s take on a movie, TV show, book or
other piece of art matter more than yours or mine? But the truth lies
in the opposite: When everyone has a platform to offer their opinion,
learning the true art of criticism is all the more important for standing
out. In this course, we learn how to effectively and compellingly
crafted cultural critiques, withunits on film, TV, books, literature and
more. We read reviews by professional critics while exploring the
different multimedia platforms criticism can live on today. The focus
of this class is on sharpening your critical faculties and developing
your voice as a writer, with the ultimate goal of finding your space as
a respected critic.
Reg# 398219
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Heather Scott Partington, M.F.A., writer, teacher, and book critic. Ms.
Partington’s writing has appeared in The New York Times, The Wash-
ington Post, The Los Angeles Times, The San Francisco Chronicle, and
Alta Journal. She is a board member for the National Book Critics Circle,
and VP in charge of Emerging Critics.
WRITING X424.2E
Creative Alchemy: Finding and Writing Life
Stories You Were Meant to Tell
3.0units
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 story’s core
fascination and acquire the skills to tell it, including researching and
interviewing 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 effec-
tively be presented.
Reg# 398217
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 7-10pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Harry Youtt, fiction writer and Pushcart Prize-nominated poet whose
recent collections include I’ll Always Be from Lorain and Outbound for
Elsewhere. Mr. Youtt is a co-recipient of the UCLA Extension Outstand-
ing Distinguished Instructor Award and the UCLA Extension Instructor
Award in Creative Writing.
Judith Prager, Ph.D., fiction and nonfiction writer whose works include
The Newman Factor, Verbal First Aid and The Worst Is Over: What to
Say When Every Moment Counts. She is a co-recipient of the UCLA
Extension Distinguished Instructor Award and the UCLA Extension
Outstanding Instructor Award in Creative Writing.
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 91
Intermediate Creative
Nonfiction Writing
These courses are designed for students who have fulfilled the
prerequisites stated in each description. Instruction includes
lectures as appropriate, but the focus is on workshopping.
Students continue to share and offer feedback in a supportive
environment. Please call an advisor at (310) 825-9415 to deter-
mine which course will best help you reach your writing goals.
WRITING X421.2
Creative Nonfiction II
3.0units
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 adven-
turous 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 create two new essay-length works of creative nonfiction
and polish your skills for publication.
Prerequisite(s): WRITING X421.1 Creative Nonfiction I or comparable
workshop experience.
Reg# 398222
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 6:30-9:30pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Alison Singh Gee, M.A., nonfiction writer who has written for Marie
Claire, InStyle, International Herald Tribune and the Los Angeles Times.
Ms. Gee was a staff writer for People magazine and her memoir, Where
the Peacocks Sing, was named a National Geographic Traveler Book
of the Month.
WRITING X422.2
Personal Essay II
3.0units
Unlike fiction, personal essay offers an opportunity to explore the
choices you’ve made, whether life-changing moments or those little
decisions that set us on a new course. Through this exploration, you
come to a better understanding of family dynamics and how events
from the past have affected the choices you make today. In this course,
you expand your knowledge of what makes an essay stronger, more
compelling and more honest. This course guides you to write and
revise one or more personal essays to be submitted for publication
and to pinpoint the best markets and outlets for your work.
Prerequisite(s): WRITING X 422.1 Personal Essay I or comparable
workshop experience.
Reg# 398223
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Victoria Zackheim, M.A., editor of six anthologies of personal essays,
including The Other Woman, For Keeps, The Face in the Mirror and
Faith. Her documentary, Where Birds Never Sang: The Ravensbruck and
Sachsenhausen Concentration Camps, aired nationwide on P.B.S. She
is a San Francisco Library Laureate.
WRITING X423.2
Memoir II
3.0units
Designed for the serious writer committed to participating in a struc-
tured writing regimen as well as engaging in ongoing critiques and
craft discussions, this 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 discus-
sion of current marketplace. The course goal is to complete 50 well-
crafted pages of your project.
Prerequisite(s): WRITING X423.1 Memoir I or comparable workshop
experience.
Reg# 398224
Fee: $720
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 5-8pm, July2-Sept.3
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Monica Holloway, author of the critically-acclaimed memoirs, Driving
with Dead People and Cowboy & Wills. Ms. Holloway is actively
involved in the work of the National Center for Family Literacy and
Autism Speaks and has participated in several events with the Special
Needs Network.
WRITING X423.3
Memoir III
3.0units
Designed for serious writers with at least 50 pages of their memoir,
this workshop offers a structured writing environment to generate new
material and ongoing critique. Issues of structure, theme and honing
the author’s unique voice are emphasized. You will develop self-editing
techniques and participate in intensive workshopping. The course goal
is to produce a substantial portion of your memoir.
Prerequisite(s): WRITING X423.2 Memoir II or comparable workshop
experience.
Reg# 398225
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Liz Stephens, Ph.D., author of the memoir, The Days Are Gods. Ms.
Stephens’ essays appear in Brief Encounters: An Anthology of Short
Nonfiction and Dirt: An Anthology. She has served as managing editor
and contributor to Brevity: A Journal of Concise Nonfiction.
Advanced Creative Nonfiction Writing
Advanced-level courses are primarily workshop-driven and are
designed for students who are well into their projects. Admis-
sion is by submission only and the selection process is competi-
tive. It is recommended that students take intermediate-level
courses prior to submitting their work. For instructions on
submitting work, contact the Writers’ Program at (310) 825-9415
or go to writers.uclaextension.edu/continuing-students. The
submission deadline for summer is June10 at 9amPT. Visitors
are not permitted in advanced-level courses.
Submission Guidelines for Advanced Creative Nonfiction
Writing Courses
Please note that there are no pre-approvals. To be eligible for an
advanced creative writing course, all students must submit one docu-
ment (double-spaced, 12-point font, 1-inch margins on all sides) con-
taining a 10-page writing sample, a synopsis of up to one page for any
longer submitted works (memoirs or collections), a personal statement
of one paragraph outlining what the student hopes to gain from the
class, and a list of previous courses completed in the Writers’ Program
or other programs, with instructors (when known).
WRITING X421.3
Creative Nonfiction III
3.0units
Designed for serious writers who seek to refine their creative nonfic-
tion manuscripts
—
including memoirs and personal essay collec-
tions
—
into polished works, this intensive workshop helps you polish
your writing and find your narrative’s energy and unique voice. You
also develop and perfect self-editing techniques as well as explore
the current market. The course goal is to have two new chapters or
two new short essays ready to submit to publishers, ideas of where
to submit work, and a deeper understanding of this artistic form.
Prerequisite(s): WRITING X421.2 Creative Nonfiction II or comparable
workshop experience.
Reg# 398226
Fee: $795
No refund after 26 June
MOnline
July3-Sept.10
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted. $100 nonrefundable. Enrollment discounts limited to
WP NOW members; no other discounts apply.
The priority application deadline for applications is Monday,
June10 at 9amPT. Applications submitted after this date are
not guaranteed consideration.
Kerry Cohen, M.F.A., author of 11 books including Loose Girl: A Memoir
of Promiscuity, Lush: A Memoir, Easy and Crazy for You: Breaking the
Spell of Sex and Love Addiction. Ms. Cohen is also the editor of Spent,
essays about women and shopping. She has been published in
numerous journals and media, including The New York Times Modern
Love column, Salon and Brevity. She has been an Oregon Book Award
finalist five times and her young adult novels have won the Oregon
Spirit Award and been a YALSA Popular Paperback and ALA Quick Pick.
Course Icons Provide Information At-a-Glance
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TEXTBOOK REQUIRED
Visit our website for textbook information.
C
UC CEDIT
May be transferable to other colleges and
universities. Learn more on our website.
92 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
Writing for Young Readers
Writing for Kids and Middle
Grade Readers
WRITING X446.2E
Writing for Young Readers I
3.0units
If you want to write for kids, you need to think like a kid and enjoy the
process of returning to the imaginative, possibility-filled world of
childhood. This course introduces you to all major categories of writing
for young people, including concept books, picture books, beginning
readers, chapter books, middle grade novels, young adult (YA) novels
and nonfiction for all age ranges. You learn the basic storytelling
principles of story structure, plot, character development and dialogue
as it applies to each genre, and discover your own niche in the world
of children’s publishing. You also learn how to tailor your work to the
psychological and emotional development, reading abilities, and
interests of each age group. The goal is to complete a draft of a manu-
script for a picture book or a sample chapter and chapter outline for
older readers. Query letters, marketing and resources for children’s
book writers are also covered in detail.
Reg# 398143
Fee: $720
No refund after 17 July
X In Person
10 mtgs
Wednesday, 6:30-9:30pm, July3-Sept.4
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Laurel van der Linde, author of several nonfiction books for chil-
dren, including So, You Want to be a Dancer? and The Pony Express,
as well as articles published in Equus and Horse Illustrated. Ms. van
der Linde has produced and/or directed many audiobooks for
Hachette and others.
WRITING X444.1
Middle Grade Novel I
3.0units
Middle grade novels have a demanding audience. Young readers
want interesting stories that either transport them to a world unlike
their own or that show them that they are not alone, that there are
others who feel and experience the same things that they do. They
want gut-wrenchingly true stories, even if they are fantasy or sci-fi.
This course helps you shape your middle grade novel idea into a
workable outline and gives you the tools to execute that plan. You
read and study successful middle grade novels, practice and experi-
ment with fiction-writing techniques, give and take feedback with
your peers’ work through workshop and learn revision techniques.
By the end of the course, you have a synopsis or outline and a solid
draft of two chapters.
Reg# 398144
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Kelly Barson, M.F.A., author of the novels 45 Pounds and Charlotte
Cuts it Out. Ms. Barson has published articles in Highlights for Children
Magazine, Hunger Mountain Literary Journal and other local family
magazines. She is a panelist and speaker at many library events and
conferences.
Writing Picture Books
WRITING 741.2E
Introduction to Picture Books
You have the dream
—
I’ve always wanted to write a children’s picture
book. But..how? This inspiring class offers you practical tools to help
you realize that dream. It includes writing exercises, examples of cur-
rent picture books, behind-the-scenes stories, and practical advice
from an award-winning author. By the end of this class you’ll have
tools to guide you in this vibrant field.
Reg# 398142
Fee: $0
No refund after 26 June
A Live Online
1mtg
Wednesday, 12-3pm, June26
UCLA X Open
Enrollment opens two weeks prior to the event. Enrollment limited;
early enrollment advised. Visitors not permitted. 7
April Halprin Wayland, author of seven picture books, including New
Year at the Pier: A Rosh Hashanah Story, named Best Jewish Picture
Book. She won the Myra Cohn Livingston Award for Girl Coming In for
a Landing: A Novel in Poems, and is a recipient of the UCLA Extension
Outstanding Instructor Award in Creative Writing.
Poetry
These workshops are tailored to students with specific levels
of experience in poetry writing. Please review course descrip-
tions carefully or call an advisor at (310) 825-9415 to determine
which course will best help you reach your writing goals.
NEW
WRITING 731.6
Writing Occasional Poems
As a writer, you can make the perfect splash at a birthday, wedding,
or other event with a poem specially written for the occasion. Come
with an occasion in mind (it can be made up!) and learn what makes
these poems different from poems we write for ourselves, how to craft
one, and what this ancient use for poetry
—
as a toast or celebration
—
can teach us in the rest of our writing. Students will leave this class
with a first draft of a poem written for the occasion of their choice.
Poems aren’t just for literary journals, they’re for real life!
Reg# 398140
Fee: $0
No refund after 15 July
A Live Online
1mtg
Monday, 5-8pm, July15
Remote Classroom
Enrollment opens two weeks prior to the event. Enrollment limited.
Visitors not permitted. 7
Brian Sonia-Wallace, author of The Poetry of Strangers. Mr. Sonia-
Wallace’s reportage has appeared in Rolling Stone and The Guardian
and he writes regularly for the LA County Department of Cultural
Affairs. He is the founder of RENT Poet, which produces live, custom
poetry for events and he has been the Writer-in-Residence for Mall of
America, Amtrak and the Boston Harbor Islands.
NEW
WRITING X432.20E
The Continuing Poet
3.0units
The pursuit of poetry is a sustained, often lonesome, practice. Stu-
dents who complete early creative writing courses can feel that they
miss the pressures of workshop, of having and meeting a deadline,
and of participating in conversations about their poems. You may be
at an intermediate stage: you have written poems, but not enough of
them to consider a book length work. You’re still looking for a space
to continue with a serious engagement in the art as you hone your
work toward publication. In this creative writing poetry course,
continuing poets will read a selection of contemporary books, dis-
cussing the merits of both individual poems and entire collections in
the interest of developing a unique poetic voice while building their
portfolio. Students will complete assigned readings, take part in
online discussions, and participate in workshop to develop, write, and
revise 5 new poems which they send out for publication by the end
of quarter. Students leave the class with a better understanding of
their own poetic talents and of their unique relationship to the larger
poetic tradition as they continue to write. Each quarter, a new set of
contemporary collections will be assigned so that this class may be
taken over again as the student continues to write poems toward a
manuscript collection.
Prerequisite(s): WRITING X 431.1 Poetry I or comparable workshop
experience.
Reg# 398139
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 7-8:30pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
&&
Miguel Murphy, M.F.A., author most recently of Shoreditch and two
previous collections of poetry, Detainee and A Book Called Rats, winner
of The Blue Lynx Prize for Poetry. Mr. Murphy’s poems and reviews
appear in The American Poetry Review, Quarterly West and The Los
Angeles Review, among others.
WRITING X432.17E
Poetry of Science
2.0units
How can science and technology shape poetry and unfold the poetic
self? In this workshop, we will examine the possibilities of poetry as
a science of “creative reception”
—
that is, how we are (re)defining our
connections to reality, each other, artificial intelligence and life outside
our planet
—
and how this kind of imaginative openness can generate
new languages that translates our experiences in the 21st century. We
will reimagine the many futures possible in poetry, drawing inspiration
from Aimee Nezhukmatathil, Terrance Hayes, Carmen Giménez Smith,
Brenda Hillman, Danya Patterson, Tracy K. Smith. and more.
Reg# 398138
Fee: $485
No refund after 7 Aug.
MOnline
July24-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Rosebud Ben-Oni, M.F.A., author of If This Is the Age We End Discovery
which won the 2019 Alice James Award, and turn around, BRXGHT XYXS
and 20 Atomic Sonnets. Ms. Ben-Oni’s work appears in POETRY, APR,
Academy of American Poets’ Poem-a-Day, Poetry Society of America,
Tin House and Guernica, among others. A recipient of fellowships and
grants from the New York Foundation for the Arts, City Artists Corps,
CantoMundo and Queens Council on the Arts, her work has been
commissioned by the National Sept.11 Memorial in NYC.
X IN PERSON, page 1.
m
ONLINE, page 1.
A LIVE ONLINE, page 1.
r HYBRID, page 1.
7 WEB-ENHANCED COURSE, page 1.
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TEXTBOOK REQUIRED
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UC CREDIT
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 93
WRITING X431.1
Poetry I
3.0units
What is a poem and how does it differ from prose? What sources can
you, the beginning poet, look to for ideas and inspiration? How can
you encourage a raw unfinished poem to become a thing of power
and beauty? This course provides a series of enjoyable and illuminat-
ing exercises to expand your imagination and introduce you to the
complex issues of craft and revision in an accessible way. Of value to
those who have never written as well as those with some experience
who seek new direction and feedback.
Reg# 398135
Fee: $720
No refund after 25 July
X In Person
10 mtgs
Thursday, 7-10pm, July11-Sept.12
UCLA Extension Gayley Center: 1145 Gayley Ave.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Rick Bursky, M.F.A., poet and author of the poetry collections I’m No
Longer Troubled by the Extravagance, Death Obscura and The Soup of
Something Missing, which won the Dorothy Brunsman Prize; and The
Invention of Fiction. Mr. Bursky’s work has appeared in American Poetry
Review, Iowa Review, Harvard Review, Black Warrior Review and Prairie
Schooner.
WRITING X431.2
Poetry II
3.0units
For those with some previous training in poetry, this intermediate
workshop focuses on creating work which emphasizes lyrical and
innovative language, personal insight and individual voice. In addition,
you refine your knowledge of a number of the craft’s formal elements,
including structure, imagery, metaphor and pace, in order to stretch
the boundaries of your creative experience. The goal is to produce
work which is ambitious and resonant.
Prerequisite(s): WRITING X 431.1 Poetry I or comparable workshop
experience.
Reg# 398136
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
&&
Xochitl-Julyisa Bermejo, M.F.A., author of the poetry collection Incanta-
tion: Love Poems for Battle Sites and Posada: Offerings of Witness and
Refuge. Ms. Bermejo is a former Steinbeck Fellow and Poets & Writers
California Writers Exchange winner, and she has received residencies
from Hedgebrook, Ragdale, Jentel, Yefe Nof, and National Parks Arts
Foundation in partnership with Gettysburg National Military Park and
Poetry Foundation. She is the director of Women Who Submit.
WRITING X432.8E
Innovative Poetic Forms
3.0units
When we approach writing poems, we should distinguish between
“pattern” (repetition) and “form” (shape). In this workshop, we boldly
seek new forms our poems can take, taking inspiration from contem-
porary poets who experiment with form and from writing prompts that
encourage risky writing. Each week, you workshop poems and discuss
ways to incorporate form more centrally in your poetry. You leave the
course with all the tools you need to structure your work creatively
and innovatively. A familiarity with traditional poetic forms (however
slight) is especially helpful for this workshop.
Reg# 398137
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
&&
Charles Jensen, M.F.A., author of Splice of Life: A Memoir in 13 Film
Genres, six chapbooks of poetry and three collections, including
Instructions Between Takeoff and Landing (2022). His writing has
appeared in American Poetry Review, Los Angeles Times, New England
Review and Prairie Schooner. He received the 2018 Zócalo Poetry Prize
and a grant from the Arizona Commission on the Arts.
Editing and Publishing
These courses are designed for writers who want to improve
their editing skills or develop competencies toward a career in
editing and publishing. Some courses help advanced writing
students prepare and submit their work for publication. Please
call an advisor at (310) 825-9415 to determine which course will
best help you reach your writing goals.
WRITING X451.1
Copyediting I
3.0units
This course gives students an overview of copyediting processes
involved in preparing a manuscript for editorial review or publication.
Appropriate for writers of all genres and those seeking to develop
professional skills in copyediting, students learn best practices for
completing a document review, including common grammar rules,
copyediting notation and reading like a copyeditor.
Reg# 398228
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jeanne De Vita, M.F.A. in creative writing, award-winning author and
editor. Ms. De Vita’s dystopian series Bug is an Amazon Editor’s Pick
on Kindle Vella. She has published extensively as a staff writer and
ghostwriter. Ms. De Vita teaches writing and editing courses for UCLA
Extension and edits several New York Times and USA Today bestselling
authors.
WRITING X451.2
Developmental Editing I
3.0units
An editor’s job includes not only improving the mechanics of writing
but identifying places where content isn’t working or needs revision
and development. This skill is also invaluable for writers, who can use
it to shape their own work or to make extra money as they work on
their own projects. Using exercises and readings, students learn how
to use the elements of craft to draft editorial letters and representative
line edits. Class discussions also explore the various roles of profes-
sional editors. The goal is to gain confidence as an editor by line-
editing a large piece of fiction and writing a detailed editorial letter as
the final class assignment. Required for the Certificate in Literary
Representation and the Certificate in Editing and Publishing.
Reg# 398229
Fee: $720
No refund after 19 July.
MOnline
July5-Sept.12
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Scott Eagan, owner and acquisitions editor for Greyhaus Literary
Agency focusing exclusively on the traditional romance and women’s
fiction market. Mr. Eagan is an active member of the Romance Writers
of America, has provided freelance critique work with Writer’s Digest
and worked as a reviewer with Publisher’s Marketplace.
Reg# 398230
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 2-5pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Erin Stalcup, M.F.A., editor-in-chief of Defunct, co-founder of Waxwing
& former editor of Hunger Mountain. Ms. Stalcup taught in community
colleges, liberal arts schools, prisons, state schools & MFA programs
in NY, NC, TX & AZ. She’s published a story collection & two novels.
Learn more at erinstalcup.xyz.
WRITING X452.1
Editorial Management I:
Acquisition to Publication
3.0units
The process from written manuscript to published book is more
complicated than most authors and newer publishing professionals
expect. From what to look for in acquisitions to how to use metadata
to your advantage to booking a successful author tour, this course
covers everything that an author and publisher should expect from
reading manuscripts to the actual publication date. By the end of the
course, you understand how an editor turns an author’s manuscript
into a saleable product.
Reg# 398232
Fee: $720
No refund after 17 July
MOnline
10 mtgs
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Brian Farrey-Latz, M.F.A., 18-year-publishing veteran whose debut
novel, With or Without You, was named a Stonewall Honor book by the
American Library Association. He is a three-time winner of the Min-
nesota Book Award and received a McKnight Artist Fellowship in 2017.
WRITING X452.2
Editorial Management II: Publication and Beyond
3.0units
This course focuses on the general trajectory of book publication from
the launch of the book on, specifically the role of editor in the modern
iterations of publishing. It covers the entire process, from a book being
sold into the market to release, PR and marketing as well as how an
editor helps build an author’s career. We also focus on how the job of
an editor looks different in different types of publishing
—
big five, small
press, University press, etc. We also cover some of the history of
publishing and how it has changed recently.
Prerequisite(s): WRITING X452.1 Editorial Management I: Acquisition
to Publication, or departmental approval.
Reg# 398233
Fee: $720
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 6-9pm, July2-Sept.3
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Kate Gale, Ph.D., co-founder and managing editor of Red Hen Press.
Ms. Gale is the author of several books of poetry, librettos and novels
in process.
WRITING X451.3
The Editorial Toolbox
3.0units
To be successful, editors draw from a broad base of skills while taking
the entire publishing process into account. They are avid, active read-
ers in their own right who understand the way the publishing market
works. Beyond that, they also understand the specialized technologi-
cal tools in use today, are strong proofreaders, understand how to
identify and check facts and communicate clearly and concisely with
other departments in order to set a manuscript up for success through
production, marketing and media outreach. By the end of the course,
students understand how these tools help editors meet the demands
of their profession and thrive in the workplace.
Reg# 398443
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Tobi Harper Petrie, deputy director at Red Hen Press, editor and
founder of Quill (a queer publishing series of Red Hen Press); publisher
of The Los Angeles Review; and public speaker on queer literature,
editing and publishing.
94 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
WRITING X452.4E
Grammar for Editors
3.0units
This specialized course for editors provides students with a compre-
hensive overview of grammar to establish an effective foundational
structure. Appropriate for those who want to become editors or seek
to write for a living, this course provides innovative activities; in-depth
discussions; and engaging videos on topics about punctuation, parts
of speech, wordiness, parallel structure and slang diction. During the
ten weeks of this course we discuss the changing design of language
to include new pronoun use, identity and overall sensitivity to all
cultures while holding a firm line to established grammatical style
essential for editors. By the end of the course, the students are able
to edit documents using the most current considerations around
contemporary language use.
Reg# 398235
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Clifford Brooks, poet, professor, founder of the Southern Collective
Experience, editor in chief of The Blue Mountain Review and host of
Dante’s Old South. Mr. Brooks has written three collections of poetry:
The Draw of Broken Eyes & Whirling Metaphysics, Exiles of Eden and
Athena Departs: Gospel of a Man Apart. Learn more at cliffbrooks.com.
WRITING X455.1
Contracts, Rights, and Signing Authors
3.0units
Literary agents are uniquely positioned in the publishing world to have
their hands in many facets of the book process, from a book’s incep-
tion through to finished copies and publicity. This course begins with
an overview of the Agency Agreement, the contract that binds an
author with an agent. Students analyze the contract in order to gain
a general understanding of the role and responsibilities of an agent
and how they go about shepherding authors and their work. This
course also unravels the mysteries of book Publishing Agreements
and provides a step-by-step guide to understanding the legal lan-
guage, recognizing which subsidiary rights can (and should) be
negotiated, and the differences between a good deal and bad deal
—
it
isn’t always money. Students leave the course with a general knowl-
edge of what it takes to foster a book project from query to signed
contracts. Required for the Certificate in Literary Representation.
Reg# 398234
Fee: $720
No refund after 17 July
MOnline
July3-Sept.10
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Linda Camacho, M.F.A., Agent at Gallt & Zacker Literary Agency rep-
resenting award-winning children’s and adult fiction. Ms. Camacho
has held various positions at Penguin Random House, Dorchester,
Simon and Schuster, Writers House, and Prospect Agency, handling
everything from foreign rights, editorial, marketing to operations.
WRITING X456.1
Internship in Editing and Publishing
3.0units
Candidates for the Certificate in Literary Representation and Certificate
in Editing and Publishing complete 100 hours of internship work for a
pre-approved literary agency or publisher. Over the course of the
internship, they gain a practical understanding of the day-to-day
operation of these businesses while engaging in professional develop-
ment discussions with other interns in this course. Internships are
restricted only to candidates in the Certificate in Literary Representa-
tion and Certificate in Editing and Publishing, and only to those stu-
dents who have completed a substantive portion of their course work
(at least 9 units). Students must complete the internship application
for approval to enroll.
Reg# 398227
Fee: $600
No refund after 17 June
Independent Study/Internship0
June24-Sept.15
Charles Jensen, M.F.A., author of Splice of Life: A Memoir in 13 Film
Genres, six chapbooks of poetry and three collections, including
Instructions Between Takeoff and Landing (2022). His writing has
appeared in American Poetry Review, Los Angeles Times, New England
Review and Prairie Schooner. He received the 2018 Zócalo Poetry Prize
and a grant from the Arizona Commission on the Arts.
Screenwriting
For help in choosing a course or determining if a course fulfills
certificate requirements, contact the Writers’ Program at
(310) 825-9415.
Special Topics for
Film & Television Writers
Courses in this section are open to students who want a deeper
understanding of a specific craft or area of study. These courses
fulfill the elective requirement for screenwriting certificates.
SCRIPT 726.13
Anatomy of a Pilot
A new television show has exactly one shot at survival: its pilot epi-
sode. If the viewer isn’t grabbed in the first hour, they’re gone forever.
But what is a pilot? How is it different from all other forms of screen-
writing? 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, informa-
tive, and entertaining course, you learn everything you need to know
about what goes into a winning pilot. By dissecting recent network
and cable pilots; you 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.
Reg# 397912
Fee: $0
No refund after 6 Sept.
X In Person
1mtg
Saturday, 10am-1pm, Sept.7
UCLA: Boelter Hall
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
This course meets in person at the designated class meeting time
and location.
Richard Hatem, executive producer/screenwriter; WGA member, who
is currently an executive producer on HBO Max’s Titans. He co-created
the TV series Miracles and The Gates for ABC. Mr. Hatem has also
written/produced episodes including Supernatural, Grimm, The Dead
Zone, Witches of East End, Once Upon A Time In Wonderland, Damien,
Dead of Summer, Second Chance andNo Tomorrow. He executive
produced Syfy’s mini-series event The Lost Room and his feature
credits include Under Siege 2: Dark Territory and The Mothman Prophe-
cies. In addition, he is a contributing author to Inside the Room
(Gotham Books/Penguin).
NEW
SCRIPT 726.17
Adapting IP for Film and Television
0.0units
In the current competitive entertainment landscape, the importance of
intellectual property, (IP) is more relevant than ever. This course delves
into the realm of IP from the writer’s perspective, exploring specific
challenges and opportunities that arise when searching for, pitching
and adapting IP. Through the exploration of real-world examples and
engaging in-class exercises, students gain a comprehensive under-
standing of their role as writers in the IP adaptation process.
Reg# 397881
Fee: $0
No refund after 13 Sept.
A Live Online
1mtg
Saturday, 10am-1pm, Sept.14
UCLA X Open
Enrollment opens two weeks prior to the event. Enrollment limited;
early enrollment advised. Visitors not permitted. 7
Matt Corman, writer/producer, WGA member, co-created and was the
co-showrunner of Covert Affairs which ran on the USA network for five
seasons. He has also served as co-showrunner on several other
network shows. Along with his writing partner, he has sold pilots to
ABC, NBC, CBS, the CW and basic cable outlets and streamers.
NEW
SCRIPT X415.13
Writing the Biopic
3.0units
Biographical films
—
”biopics” for short
—
explore the lives of notable
human beings throughout history. The best of them rank high in Oscar
voters’ esteem, rewarding writers, directors, and actors for bringing
these true stories to the screen. In this course, the objective is to
deepen your understanding of the biopic as it relates to dramatic form,
screenplay structure, and life. By the end of the course, you leave with
a working knowledge of what it takes to move from concept to finished
screenplay as well as a beat sheet to start you on your way.
Reg# 398546
Fee: $720
No refund after 24 July
A Live Online
10 mtgs
Wednesday, 7-10pm, July10-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ben van der Veen, screenwriter, W.G.A. member who wrote the Steven
Soderbergh film Che. He has worked on projects for Terrence Malik,
Julyian Schnabel, Robert De Niro, Keanu Reeves, Don Cheadle, Bruce
Willis and Arnold Schwarzenegger. Mr. van der Veen’s latest film, Paris
Song, stars Abbie Cornish.
NEW
SCRIPT X465.5E
Writing from the Director’s POV
3.0units
This course refines your existing script, infusing it with visuals and
depth that distinguishes it from the competition. With strong focus on
movement, environment, pace, action, and character behavior, you
learn to write in the director’s perspective. As a result, you discover
motifs and themes you may not have known buried within your story.
By the end of the course, you are armed with the tools to write a script
that leaps off the page, enhancing its appeal that is much more attrac-
tive to potential creative partners and buyers alike.
Reg# 397845
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 6-9pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Joe Boothe, television writer and WGA member whose credits include
TNT’s one-hour drama The Librarians and the feature film Artista
Obscura. Mr. Boothe has sold multiple pilots and continues working in
features, where he has several projects in the studio pipeline.
Course Icons
Provide
Information
At-a-Glance
X IN PERSON, page 1.
m
ONLINE
Technical requirements, page 1.
A LIVE ONLINE, page 1.
r HYBRID, page 1.
7 WEB-ENHANCED COURSE, page 1.
&&
TEXTBOOK REQUIRED
Visit our website for textbook information.
C
UC CEDIT
May be transferable to other colleges and
universities. Learn more on our website.
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 95
NEW
SCRIPT X465.6E
Crafting the Thematic Heart and Soul of
Your Story
1.0units
If structure is the skeleton of a story, theme is its heart and soul. It’s
what makes your story universal and what raises it above all those
that simply entertain. If your goal is to craft a story that resonates
emotionally with a global audience, this course guides you through
theme and how it unifies character and plot. Through lectures, discus-
sions, and practical writing assignments, you learn why a clearly
defined thematic argument is the foundation of a great story, how
theme is different from premise, motif, or subject matter, and how to
find it for your story. You explore the most successful and often-used
themes in classic and modern films, and apply effective techniques
to tap into the thematic argument of your story and make sure it
remains “invisible” throughout the story. With so many definitions and
misunderstandings, this course demystifies theme once and for all.
Reg# 398545
Fee: $325
No refund after 3 Aug.
A Live Online
4 mtgs
Sunday, 10am-1pm, Aug.4-25
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Karl Iglesias, M.F.A., screenwriter and script doctor, who is the author
of The 101 Habits of Highly Successful Screenwriters and Writing for
Emotional Impact. Mr. Iglesias is a former development executive for
Samson Entertainment. He is a recipient of the UCLA Extension Out-
standing Instructor Award in Screenwriting.
SCRIPT X463.9E
Supercharge Your Writing Efforts
2.0units
It doesn’t matter if you have the best ideas if you can’t develop them
into anything. In this course, you will create a digital system that
supports and powers your writing efforts
—
so you can turn your many
ideas into compelling and completed stories. You will learn how to use
linked digital notes to never start from a blank page again, to over-
come Writer’s Block and to stay in flow to get more of your best writing
done more often. As you develop your digital writing system through-
out this course, you experience first-hand how linking ideas digitally
gets you generating more sparks in your work than ever before. By
the end of this course, you should be able to use linked digital notes
to effectively manage multiple ideas simultaneously and reliably make
progress in your writing efforts
—
leading to some of your most inspired
and valuable creative output.
Reg# 398830
Fee: $485
No refund after 14 Aug.
A Live Online
6 mtgs
Wednesday, 5-8pm, July31-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Nick Milodragovich, member of Editors’ Guild whose credits include
Better Call Saul, Coyote and El Camino: A Breaking Bad Movie. Other
shows he’s worked on have premiered on HBO, Netflix, Paramount,
CBS All Access, ABC, NBC and Youtube. Nick also worked in HBO’s
coveted Programming department, focusing on Barry, Veep and Sili-
con Valley. Mr. Milodragovich runs an international education company
that teaches the invisible art of growing good ideas.
SCRIPT X401
Get Your Story Straight
1.0units
In this short introductory workshop designed for beginners, you learn
the key building blocks for a writing a structurally solid screenplay.
You begin by refining your story idea by studying and workshopping
the elements that make for a successful logline. You then expand upon
that and learn how to structure your story into three compelling acts.
Special attention is paid to developing a protagonist character your
audience will really care about and how that ties into the plotting of
your story using the major plot points. By the end of the course you
have a refined logline, character bio and basic beat sheet that covers
the major beats of your story from beginning, middle and end.
Reg# 398411
Fee: $325
No refund after 20 Aug.
A Live Online
4 mtgs
Wednesday, 5-8pm, Aug.21-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Diane Drake, screenwriter, WGA member whose credits include What
Women Want, starring Mel Gibson and Only You, starring Robert
Downey, Jr. and Marisa Tomei. Ms. Drake was vice president of Creative
Affairs for Academy Award-winning director-producer Sydney Pollack’s
Mirage Productions.
SCRIPT X469.10E
Final Draft in Production
1.0units
A comprehensive training course in how the newest version of Final
Draft is used by script coordinators and writers’ assistants in feature
film and television show production. Topics include configuring the
application, file management, troubleshooting, page locking and revi-
sion sets. Instructions, demonstrations and practical exercises will
give the students insight and experience in how the program is used
in a professional environment.
Reg# 398372
Fee: $325
No refund after 2 Aug.
A Live Online
6 mtgs
Saturday, 10am-12pm, Aug.3-Sept.7
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
Joel Levin, M.F.A. in film directing (USC); former NYC IATSE camera
assistant, junior development exec for Nickelodeon Movies, freelance
script reader, and VP Final Draft Technical Support since 2004. Mr.
Levin has authored the last four Final Draft manuals and FD’s online
knowledge base.
SCRIPT X425.6
Writing the Television Series Treatment Intensive
1.0units
A treatment is the main foundational document that a writer needs to
sell an original television series. In this intensive course, we delve into
all the elements to creating a compelling TV series treatment. We
discuss examples from popular TV shows to help you write your own
successful treatment. This process not only helps you understand your
characters and their world at a deeper level but allows you to refine
your story engine to expand upon future episodes and season arcs.
By the end of this course, you leave with a treatment that’s ready to
pitch, along with a strategy to expand the document into an eye-
catching look-book. Furthermore, we discuss ways to protect your
intellectual material.
Reg# 397927
Fee: $325
No refund after 6 Sept.
X In Person
2 mtgs
Saturday, 10am-4pm, Sept.7-14
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Janna King, screenwriter and WGA member, who has written TV
movies for Lifetime and Hallmark such as Christmas in the Air and
Love, Of Course, along with a host of TV drama series. Ms. King’s film
and TV credits also include kids animation like Dragon Tales and the
Wacky Races reboot. She has developed and consulted for CBS, Disney
and WB and is the author of The Seasonaires optioned for TV by
Blumhouse. In addition, she has written and directed plays and award-
winning short films.
SCRIPT X442.1
Developing Video Game Narratives
3.0units
Writing for games requires an understanding of structure that goes
beyond linear storytelling. From the early days of tabletop gaming to
more recent hits like Mass Effect and Fallout, writers are expected to
hold many possible worlds
—
with multiple branching story points
—
in
their heads. And to ultimately translate those concepts into actionable
materials. In this course, you explore the nature of interactive story by
working in multiple different formats (choose your own adventure,
virtual novels, the Telltale style, etc.) and writing games that exemplify
the fundamental concepts of branching narrative. The course goal is
to develop a vocabulary for interactive fiction and to write a game in
the format of your choosing that can be used as a calling card for
future work.
Reg# 398346
Fee: $720
No refund after 15 July
X In Person
10 mtgs
Monday, 7-10pm, July1-Sept.9
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
No meeting Sept.2.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jonathan Callan, writer and narrative designer for games and anima-
tion who served on the V.R. titles Raw Data and Sprint Vector. Mr. Callan
has also written on games such as Walking Dead: Onslaught and
Westworld: Awakenings. In the world of television, he’s written for over
a dozen series, including Young Justice, Lego Jurassic World and Justice
League Action.
SCRIPT X463.3E
Screenwriter’s Lab: The New Method
3.0units
Kemp Powers (playwright and screenwriter, One Night In Miami), Aaron
Sorkin (The Trial of the Chicago 7 and 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 disciplines. Agents and producers often read
plays with the goal of finding a writer who excels at character-driven
storytelling
—
which 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 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 10 pages
ready to be performed by actors in the final class.
Reg# 398333
Fee: $720
No refund after 23 July
A Live Online
10 mtgs
Tuesday, 6-9pm, July9-Sept.10
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Aleesha Nash, M.F.A., writer, director, and visual artist whose credits
include Fred Rogers Productions’ Donkey Hodie. Her theatre work has
been seen Off-Broadway at Cherry Lane Theatre, The National Black
Theatre, The Flea Theater, Primary Stages, The Wild Project, Kraine
Theater and The Drama League in New York City. Ms. Nash has
received the Goddard College Engaged Artist Award and the Primary
Stages’ Mary Louise Rockwell Award.
96 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
SCRIPT X433
Scripted Podcasting
3.0units
There is something to be said for letting your ears paint the pictures.
Before television, radio served as the primary mode of entertainment
for audiences seeking powerful storytelling. Radio’s transition to
“scripted audio” or “scripted podcasts” has opened doors for screen-
writers to write, produce, and release their own content, which may
in turn be picked up and adapted for film and television. All those years
it was drummed into screenwriters ‘show don’t tell’. You can’t show.
There is no screen! You adjust to thinking in terms of sound only.
APPLAUSE!
Reg# 398320
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Bill Taub, screenwriter; WGA and WGC member who won a WGA
Award for 101 Best Written TV Series, including Barney Miller and Hill
Street Blues. Mr. Taub has written for Magnum P.I, Newhart, In the Heat
of the Night, among others, and created the award-winning web series
The G Spot. He has written pilots for NBC, Columbia, Warner Bros, and
Paramount.
SCRIPT X465.3E
Thought-Provoking Horror Narratives for
Television and Film
3.0units
This comprehensive 10-week course offers aspiring screenwriters a
deep dive into the world of crafting powerful, thought-provoking horror
stories that resonate across cultures. Drawing from diverse global
influences, including Latin American, European, South Korean, and
Japanese horror, participants will explore various sub-genres, such as
social horror and war horror, focusing on addressing contemporary
societal issues. Through engaging workshops, expert-led discussions,
and hands-on writing exercises, students will dissect iconic TV series
and films, examining the successful integration of horror and social
commentary while honing their distinctive storytelling voices. The
course covers various essential screenwriting topics, from the history
of horror cinema and diverse horror genres to screenwriting funda-
mentals like character development, plot structure, dialogue crafting,
and visual storytelling. Additionally, students will learn about polishing
their screenplays, obtaining and incorporating feedback, and submit-
ting their work for consideration. Participating in lectures and work-
shops, analyzing seminal horror TV series and movies, composing
original screenplays, and receiving invaluable feedback from industry
professionals will give participants the skills and knowledge needed
to create compelling, socially-conscious horror narratives that capti-
vate audiences around the world.
Reg# 397923
Fee: $720
No refund after 20 July
A Live Online
10 mtgs
Saturday, 10am-1pm, July6-Sept.7
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Guillermo Escalona, executive producer and writer who graduated
from the International Film and Television School in Cuba. Mr. Escalona
is co-creator and co-writer of the HBO Max original series Mil Colmillos,
(“A Thousand Fangs”) produced by Rhayuela Films. In addition, he is
an executive at La PANDA Productions, a company involved in films
such as 10,000km by Carlos Marques and La Camarista by Lila Avilés.
SCRIPT X428.1
Late Night Talk Show and Sketch Comedy
3.0units
From the beginning of network and cable television sketch comedy
and its first cousin, the Late-Night Talk Show scripted desk piece have
given us some of television’s greatest comedic moments. In this class
students learn the art and the craft of creating solid, funny and func-
tional comedy sketches and late-night bits. Students are taught how
to breakdown what makes a sketch, a bit and desk pieces work by
watching and analyzing the great sketch and talk shows past and
presence. Paticipants close watch and analyze late night talk and
sketch shows in order to dissect the different comedic tones, overall
perspectives and specific TV personalities as well as the challenges
of shooting live verses pre-taped sketches. For example, determining
how desk pieces and remote segments differ from Kimmel to Conan
to Fallon. We also study the evolution and history of sketch comedy
from SNL, SCTV and Monty Python to Living Color, The Ben Stiller Show,
Mr. Show, the Dave Chappell Show, Key and Peele, as well as I Think
You Should Leave with Tim Robinson and Portlandia. Each class is
devoted to watching segments and sketches, discussions, and work-
ing on in-class writing exercises to be reading/performed for group
and professor feedback.
Reg# 397922
Fee: $720
No refund after 20 July
A Live Online
10 mtgs
Saturday, 10am-1pm, July6-Sept.7
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
Jeffrey Kahn, M.F.A., Emmy award-winning writer; WGA member who
co-created The Ben Stiller Show. Mr. Kahn’s credits include All-Ameri-
can Girl, Dilbert and Drawn Together. He has an overall TV writing deal
with Sony and Castle Rock and written pilots for all the major net-
works, The Disney Channel, F/X and Comedy Central.
SCRIPT X464.2E
Bringing Your Characters to Life
3.0units
It’s been proven that by using acting techniques including scene study
and improvisation, the writer can go deeper into character and story
development. This course teaches the writer how to approach the
creation of a character from the vantage point of the actor. Since
characters are the most important component to any script, learning
to use the tools employed by actors to capture their roles will pave
the way for the writer to create the most well-defined character for his
story. In addition, it can enhance the writing of the script and is a great
tool for fine-tuning the writer’s pitch for episodic and pilot ideas. We
cover the basic principles of character exploration. Where is the
character’s dominating center of energy? Class members participate
in improvisational exercises and act in the monologues, sketches and
scenes they have written. By the end of the term, each writer creates
several original characters for a pilot or episodic story concept grown
out of class work.
Reg# 398676
Fee: $720
No refund after 15 July
X In Person
10 mtgs
Monday, 7-10pm, July1-Sept.9
UCLA Extension Gayley Center: 1145 Gayley Ave.
No meeting Sept.2.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Barry Vigon, M.F.A., writer/producer, and WGA member who served
as a co-exec producer on Malcolm & Eddie and Martin, a producer on
Something Wilder and a supervising producer on Veronica’s Closet. Mr.
Vigon wrote for Soap, Roseanne and Fame and created pilots for CBS,
NBC, ABC and The Disney Channel.
SCRIPT X425.5
Seasonal-Arc Structure for TV
3.0units
Television storytelling is undergoing significant shifts in the early
twenty-first century, but the basics of structuring satisfying narratives
are rooted in human psychology and are timeless. This vigorous ten-
week course exposes and explores the underpinnings of classic cin-
ematic story arcs in current, serialized shows (titles subject to
change). At the same time, each student methodically practices the
foundational, industry-standard skills required to create a high-quality
series by developing characters and narrative arcs for an original TV
show in their own unique voice.
Reg# 397924
Fee: $720
No refund after 20 July
A Live Online
10 mtgs
Saturday, 2-5pm, July6-Sept.7
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Shari Goodhartz, WGA member; multi-award nominated writer whose
credits include Dragonheart: A New Beginning, Young Hercules, and
Aeon Flux. Ms. Goodhartz’s career spans corporate (Coca-Cola), TV and
film (live-action, animation, development, producing, documentary),
wellness, publishing, and marketing.
SCRIPT X464.5E
Ultimate Character Creation
3.0units
Having a great story is crucial, but the key to selling your screenplay
is character. You must have great characters. In this class, you learn
how to create dynamic, exciting characters that audiences will love
and actors will be dying to play (the real secret to selling and getting
your screenplay made!). In this course, you analyze great movie
characters, focusing on key scenes that make us fall in love with a
character; examine unlikable characters, villains and supporting
characters; also, dive into narrative function, character arc, backstory,
psychology and motivation, personality and body language. Step by
step, you build your characters through the use of weekly assign-
ments, including exercises, worksheets, and scene writing, giving you
the ultimate toolbox for creating truly great characters every time.
Reg# 398353
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 7-10pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Donald H. Hewitt, screenwriter and WGA member whose feature film
credits include the English-language screenplay for Hayao Miyazaki’s
Oscar-winning film, Spirited Away, My Neighbor Totoro, and the Oscar-
nominated Howl’s Moving Castle. Mr. Hewitt has written for Pixar,
Miramax, New Line, and Disney.
X IN PERSON, page 1.
m
ONLINE, page 1.
A LIVE ONLINE, page 1.
r HYBRID, page 1.
7 WEB-ENHANCED COURSE, page 1.
&&
TEXTBOOK REQUIRED
C
UC CREDIT
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 97
SCRIPT X451.2
How to Research Your Story
3.0units
Research always pays off (and not just when it comes to historical
works of fiction). This is especially true when it comes to things that
we think we know, things we’ve seen depicted before, like the inner
workings of a law firm or the emergency room in a hospital. The most
important step in writing a screenplay (or novel) is gaining the breadth
of knowledge and mastery of the material that’s necessary to write
with authority. The facts you find are almost always better than the
stuff that you make up, and the creative decisions and choices you
make based on research lead to improvements that won’t happen in
any other way. The goal of the course is to learn how to gain mastery
and become an authority on the subject of a script you are currently
developing. Students must bring either an outline or a completed
script to be ready to workshop at the start of class.
Reg# 398324
Fee: $720
No refund after 24 July
A Live Online
10 mtgs
Wednesday, 6-9pm, July10-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
Julyian Goldberger, screenwriter/director, WGA member, whose
credits include The Hawk Is Dying starring Paul Giamatti and Michelle
Williams and the critically acclaimed indie film trans. He has written
scripts for Universal Studios and Lionsgate, as well as major producers
including Marc Platt, Ted Hope and Ed Pressman.
SCRIPT X463.6E
Get Your Script Contest Ready
3.0units
One of the hardest things to do for aspiring writers is to get noticed in
order to jump-start their careers. Entering competitions, getting intern-
ships, sending query letters and networking are the most common
ways to break into the industry. In this course we focus on screenwrit-
ing competitions, how to write a script that places in competitions,
what judges are looking for, how to write a killer opening that engages
your reader, what mistakes to avoid, which competitions to enter and
how to use competition wins to propel your writing career. With the
use of lectures, script readings/analysis and practical workshops, you
learn how to elevate your script, heighten its potential for placing in
competitions and capitalize from your wins.
Reg# 397925
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
Cody Smart, an independent writer and script doctor from Chile, Cody
holds degrees in English Literature and Linguistics, screenwriting,
development and producing. Ms. Smart worked as a script analyst for
Sony, she’s a judge for multiple script and film competitions, she’s
written some award-winning shorts, she’s head of the coverage
department at a script hosting site and she does a bi-monthly vlog
with tips for Screenwriters for Story Data. She takes pride in helping
writers take their work to the next level.
SCRIPT X464.11E
How to Write Funny, Compelling Dialogue that
Doesn’t Suck
3.0units
Great, funny, compelling dialogue is easier than you think. It comes
when you focus on one single thing: your moral premise. There’s a
vice and a virtue ready to argue with each other, and funny lines arrive
when you see the strengths and weaknesses in your argument. In this
workshop, you learn how screenplay structure can be dialogue’s best
friend, how to write great dialogue by drawing from your worst life
moments, and how to be a ruthless editor. You also learn how to avoid
dialogue pitfalls like wordiness, clunkiness, ambivalence, and wishy-
washiness. By the end of the course, you write dialogue that cracks
like a whip.
RRR
Reg# 398397
Fee: $720
No refund after 23 July
A Live Online
10 mtgs
Tuesday, 4-7pm, July9-Sept.10
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Michael Jann, Emmy-nominated television writer and WGA member
who served 22 years as a comedy monologue writer for The Tonight
Show with Jay Leno. Mr. Jann most recently served as a comedy writer
for The Tonight Show Starring Jimmy Fallon and has written features
and TV pilots for major studios.
SCRIPT X464.9E
Creating Memorable Characters Through
Their Core
3.0units
Memorable stories are grounded by great characters. The core of who
those characters are drive the story, but characters need to take
action, and those actions need to ring true to their core as they move
from one plot point to the next. Why is your character making that
specific choice at a particular moment? What’s their motivation?
Whether you are finished with a draft or just have a nugget of an
idea, the core of your characters must be excavated. Through
examples, discussions, and writing exercises, you discover your
characters’ needs, wants, and drives. You flush out how your char-
acters think and feel to discover who they are fundamentally. You
also address how the core elements of your characters influence plot
and structure and discover ways to reveal that through action and
dialogue. The goal of this course is to chart the emotional journey of
your protagonist character and leave with tools that can be applied
to make every character, regardless of how big or small, play mean-
ingful roles in your story.
Reg# 397926
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
Roz Weisberg, M.F.A., teacher/writer/book & script consultant. Her
producing credits include Beastly and Where the Heart Is and the short
films The Heebie Jeebies and Being Vincent. She serves/d as a con-
sultant for Netflix, Resonate, The Disney Channel, National Geographic,
Mission Pictures and Focus Features.
SCRIPT X416.3E
Writing Screenplay Coverage
3.0units
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 screen-
writer who needs to critique his or her own scripts effectively.
Reg# 398326
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Barney Lichtenstein, M.A., professional story analyst for companies
such as Amblin, Imagine and New Line. Referring trained story ana-
lysts to production companies, he is a UCLA Extension Outstanding
Instructor in Screenwriting and story editor of a Peabody Award
winning program.
Feature Film Writing
Beginning Feature Film Writing
Recommended for beginning students, these courses build on
one another in a four-part sequence. With the close guidance
of the instructor, students share and offer feedback in a sup-
portive environment focused on assessing the strengths and
weaknesses of the work. By the end of the sequence, students
have a completed draft of their first feature film script.
SCRIPT X400
Introduction to Screenwriting
2.0units
This six-week course is perfect for anyone getting started on their path
to becoming a screenwriter. Each class offers a broad-strokes intro-
duction to a different writing format, which includes Feature Film,
Television Specs and Television Pilots, as well as a rotating list of
specialized forms such as Video Game Writing, Writing for Animation,
Sketch Comedy Writing and/or Script Doctoring. The course also looks
at the business end of writing. Lectures by guest speakers offer insight
and instruction on each topic, followed by guided workshop sessions
where students put those theories into action on their own material.
The goal of the course is to give new writers a taste of different
screenwriting types to help deepen their overall knowledge while
sparking their creative energy. At the end of the quarter, students
should feel more confident about their skills and be prepared for
further study of writing.
Reg# 398368
Fee: $485
No refund after 14 Aug.
A Live Online
6 mtgs
Wednesday, 5-8pm, July31-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jacqueline Heinze, M.F.A., author and screenwriter who writes screen-
plays and develops story ideas for Jarrett Creative Group. Her credits
include The Preacher’s Daughter for Lifetime and Killision Course, an
Oxygen true-crime series.
SCRIPT X409
Features: Essential Beginnings
2.0units
This course reveals the vital first step of understanding the craft of
writing feature films, making it an ideal starting point for aspiring
screenplay writers. In this workshop, you learn the fundamentals of
the screenplay format. Using examples, you will also learn the building
blocks of feature structure, as well as techniques to organize and
convey your ideas to kickstart the writing process. By the end of the
course, you will have a better understanding of feature writing and be
fully prepared for the next course in the sequence, SCRIPT X410.1-
Feature Film I, where you learn how to outline your screenplay.
Reg# 398371
Fee: $485
No refund after 5 Aug.
A Live Online
6 mtgs
Monday, 5-8pm, July22-Aug.26
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Julyia Camara, award-winning Brazilian screenwriter/filmmaker and
WGA member who won a Telly Award for the sci-fi found footage
feature Occupants. Ms. Camara’s feature directorial debut In Transit
won Best Experimental Film at four different festivals. Her other writing
credits include Area Q and Open Road.
98 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
SCRIPT X410.1
Feature Film I
3.0units
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 audience’s emotions. You learn how to create and
evaluate story ideas, explore how characters’ inner wants and immedi-
ate goals shape and drive a screenplay’s 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
serves as the basis for your script outline
—
a prose description of your
screenplay. The course goal is to learn how to write effective, compel-
ling scenes and to create a four-to-five-page outline that clearly
delineates your script’s 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 SCRIPT X410.2 Feature Film II.
Reg# 398362
Fee: $720
No refund after 16 July
A Live Online
10 mtgs
Tuesday, 5-8pm, July2-Sept.3
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Janna King, screenwriter and WGA member, who has written TV
movies for Lifetime and Hallmark such as Christmas in the Air and
Love, Of Course, along with a host of TV drama series. Ms. King’s film
and TV credits also include kids animation like Dragon Tales and the
Wacky Races reboot. She has developed and consulted for CBS, Disney
and WB and is the author of The Seasonaires optioned for TV by
Blumhouse. In addition, she has written and directed plays and award-
winning short films.
Reg# 398338
Fee: $720
No refund after 17 July
A Live Online
10 mtgs
Wednesday, 7-10pm, July3-Sept.4
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Elie El Choufany, M.F.A., screenwriter whose credits include Norm of
the North: Family Vacation and Arabs in Space. Mr. Choufany has
projects in development in film and TV. Other credits include his
award-winning short films Contact and Towards the Sun.
Reg# 398361
Fee: $720
No refund after 23 July
A Live Online
10 mtgs
Tuesday, 4-7pm, July9-Sept.10
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Matthew Harrison, director/writer/producer, whose credits include
Rhythm Thief (Jury Prize, Sundance Film Festival), Kicked in the Head
(executive producer Martin Scorsese), Spare Me, Sex and the City,
Popular, and Dead Last. Mr. Harrison received the UCLA Extension
Outstanding Instructor Award.
Reg# 398328
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ron Wilkerson, writer/director and WGA member whose credits
include Stargate SG-1, Star Trek: The Next Generation, Star Trek: Voyager
and Trade Show. He is currently developing Dreamland for ABC Studios
and is a recipient of the UCLA Extension Outstanding Instructor Award
in Screenwriting.
RRR
Reg# 398329
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Valerie Brandy, screenwriter/director/actress and WGA member who
wrote, directed and starred in the feature film Lola’s Last Letter. Ms.
Brandy has written for both the Disney Channel and Denver and Deli-
lah Productions. She currently serves as a full-time staff writer for
Disney’s live-action feature department.
Reg# 398334
Fee: $720
No refund after 24 July
X In Person
10 mtgs
Wednesday, 7-10pm, July10-Sept.11
UCLA Extension Gayley Center: 1145 Gayley Ave.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Andrew Knauer, M.F.A., screenwriter; WGA member who wrote The
Last Stand, starring Arnold Schwarzenegger; Castle Falls starring Dolph
Lundgren and Scott Adkins; and Senior Year, starring Rebel Wilson.
Reg# 398355
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 5-8pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Daniel Sussman, M.F.A., J.D., screenwriter; WGA member who served
as a staff writer for ABC’s The Practice. Mr. Sussman most recently sold
his big-budget disaster feature Galveston to Warner Bros. Pictures. He
has sold scripts to production companies, including Polaris Pictures
and NBC Television Network.
SCRIPT X410.2
Feature Film II
3.0units
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 instructor’s 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(s): SCRIPT X410.1 Feature Film I. Students must bring a
four-to-five-page outline they created in Feature Film I to first class
meeting and be prepared to pitch it.
Reg# 398348
Fee: $720
No refund after 15 July
A Live Online
10 mtgs
Monday, 5-8pm, July1-Sept.9
Remote Classroom
No meeting Sept.2.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ryan Ward, screenwriter/director/producer; SAG member, who has
worked for a decade in independent narrative film. His feature, Son of
the Sunshine (Slamdance), was nominated for a Genie Award (Cana-
dian Oscar). His other credits include In the Beginning was Water and
Sky for PBS and AmeriKa (Berlinale/INPUT TV).
RRR
Reg# 398364
Fee: $720
No refund after 20 July
A Live Online
10 mtgs
Saturday, 10am-1pm, July6-Sept.7
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Tonya Cannon, an award-winning screenwriter/producer/actor whose
credits include Distortion (feature), Officer Involved (web series), and
Sorry, Wrong Text (short film). Her newest horror film Wiles, which she
wrote and directed, is set to release soon.
Reg# 398330
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Tony DuShane, author of Confessions of a Teenage Jesus Jerk and
award-winning screenwriter of the adaptation directed by Eric Stoltz.
His work has appeared in the Los Angeles Times, The Believer, Mother
Jones and he was a music columnist for the San Francisco
Chronicle.
Reg# 398340
Fee: $720
No refund after 24 July
A Live Online
10 mtgs
Wednesday, 6-9pm, July10-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
William Hasley, screenwriter and WGA member who has sold features
to 20th Century Fox, Universal, and Warner Bros. His TV credits include
Swift Justice; Ghost Stories; Murder, She Wrote; Kung Fu; Young Riders;
and Highway to Heaven and has also written for Castle Rock, Columbia,
and Warner Bros.
Reg# 398367
Fee: $720
No refund after 1 Aug.
X In Person
10 mtgs
Thursday, 7-10pm, July18-Sept.19
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Christine Shin, M.F.A., award-winning Korean writer and director
whose films have been distributed to iTunes, aired on PBS and
garnered multiple awards including Cine Golden Eagle Award. Ms.
Shin is a Film Independent Fellow and Caucus Foundation Grant
recipient. She also received a writing fellowship from Korean Film
Council and CAPE. Christine currently teaches film and television at
California State University Northridge and serves on the board of
Alliance of Women Directors.
X IN PERSON, page 1.
m
ONLINE, page 1.
A LIVE ONLINE, page 1.
r HYBRID, page 1.
7 WEB-ENHANCED COURSE, page 1.
&&
TEXTBOOK REQUIRED
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UC CREDIT
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 99
SCRIPT X410.3
Feature Film III
3.0units
The third in a four-part sequence in writing a feature film screenplay,
this course focuses on writing the next 45 pages of your script. You
also refine your story outline; flesh out main and secondary charac-
ters; continue to develop the art of the scene as it pertains to type,
choice, structure and placement; and begin to discover each charac-
ter’s unique voice. You learn the habits you need to sustain the work
of writing a screenplay. The goal is to write up to 45 pages from
beginning of Act II. May be repeated for credit.
Prerequisite(s): SCRIPT X410.1 Feature Film I and SCRIPT X410.2 Feature
Film II. Students must bring their beat sheets or treatments and Act I
to the first class meeting and be prepared to write.
Reg# 398365
Fee: $720
No refund after 20 July
X In Person
10 mtgs
Saturday, 10am-1pm, July6-Sept.14
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
No meeting Aug.31.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Colin Francis Costello, screenwriter, director and WGA-East member
whose credits include The Stream starring Rainn Wilson and Alternate
Universe. Mr. Costello’s TV credits include Lost n’ Found and Detectives
Club. He has also written and directed award-winning shorts, including
The After Party and Dreamwisher.
Reg# 398175
Fee: $720
No refund after 24 July
A Live Online
10 mtgs
Wednesday, 7-10pm, July10-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Koji Steven Sakai, M.F.A., award-winning screenwriter/producer/
novelist and W.G.A. member, whose feature credits include Damaged,
Boneyard, Ruthless, Skeletons in the Closet, Commando, Dying to Kill,
Monsters & Me, #1 Serial Killer, The People I’ve Slept With and Haunted
Highway. Mr. Sakai has produced a comedy special for Netflix and the
comedy series Comedy InvAsian, which premiered on Peacock.
Reg# 398332
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Steven Schwartz, screenwriter/producer, WGA member, Spirit Award
nominee for his screenplay for the Sidney Lumet-directed movie Criti-
cal Care. 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.
SCRIPT X410.4
Feature Film IV
3.0units
In the last of a four-part sequence in writing a feature film screenplay,
you reach FADE OUT. In the process of completing your script, you
hone in on structuring conversations, explore how to maximize your
story’s visual implications, deepen scene writing skills, assemble
scenes to form powerful sequences, ensure your script’s 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(s): SCRIPT X410.1 Feature Film I, SCRIPT X410.2 Feature
Film II, and SCRIPT X410.3 Feature Film III. Students must bring their
beat sheets or treatments, Act I and 45 pages of Act II to the first class
meeting and be prepared to write.
RRR
Reg# 398351
Fee: $720
No refund after 15 July
X In Person
10 mtgs
Monday, 7-10pm, July1-Sept.9
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
No meeting Sept.2.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Colin Francis Costello, screenwriter, director and WGA-East member
whose credits include The Stream starring Rainn Wilson and Alternate
Universe. Mr. Costello’s TV credits include Lost n’ Found and Detectives
Club. He has also written and directed award-winning shorts, including
The After Party and Dreamwisher.
Reg# 398174
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Valerie Brandy, screenwriter/director/actress and WGA member who
wrote, directed and starred in the feature film Lola’s Last Letter. Ms.
Brandy has written for both the Disney Channel and Denver and Deli-
lah Productions. She currently serves as a full-time staff writer for
Disney’s live-action feature department.
Reg# 398366
Fee: $720
No refund after 27 July
A Live Online
10 mtgs
Saturday, 10am-1pm, July13-Sept.14
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7This course is held via video teleconference.
Instructors use Zoom to offer live class meetings at the designated
class meeting time. Students must be present at the course meeting
time as each student’s final grade may include scores for
participation.
Christine Shin, M.F.A., award-winning Korean writer and director
whose films have been distributed to iTunes, aired on PBS and
garnered multiple awards including Cine Golden Eagle Award. Ms.
Shin is a Film Independent Fellow and Caucus Foundation Grant
recipient. She also received a writing fellowship from Korean Film
Council and CAPE. Christine currently teaches film and television at
California State University Northridge and serves on the board of
Alliance of Women Directors.
Intermediate Feature Film Writing
Courses in this section are for students who have completed
at least one screenplay. A new project is begun with an empha-
sis on craft issues such as structure, character development,
and emotional content. Self-editing techniques are
introduced.
SCRIPT X411.1
Feature Film V
3.0units
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 partici-
pants’ work supplement the workshop.
Prerequisite(s): SCRIPT X410.4 Feature Film IV or equivalent, or consent
of instructor.
Reg# 398173
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
Cynthia Riddle, M.F.A., award-winning writer/producer, former devel-
opment exec at MGAM and WGA member whose credits include
Crossroads, Puppy Love, Brittany Murphy Story and Poisoned Love: The
Stacey Castor Story. Ms. Riddle has written projects for Netflix, Show-
time, Disney, Lifetime, Starz, Hallmark and others.
SCRIPT X411.2
Feature Film VI
3.0units
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.
Prerequisite(s): SCRIPT X411.1 Feature Film V, or equivalent, or consent
of instructor.
Reg# 398172
Fee: $720
No refund after 24 July
A Live Online
10 mtgs
Wednesday, 6-9pm, July10-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
Michael Barlow, producer, screenwriter and WGA member who, as
an executive at Paramount Classics, oversaw Black Snake Moan and
Mad Hot Ballroom. He was vice president of production at various
major studios, including Orion Pictures. His writing credits include the
miniseries Kidnapped and the ABC drama Family.
Advanced Feature Film Writing
Advanced-level courses are primarily workshop-driven and are
designed for students who are well into their projects. Admis-
sion is by submission only and the selection process is competi-
tive. It is recommended that students take intermediate-level
courses prior to submitting their work. For instructions on
submitting work, contact the Writers’ Program at (310) 825-9415
or go to writers.uclaextension.edu/continuing-students. The
submission deadline for summer is June10 at 9amPT. Visitors
are not permitted in advanced-level courses.
SCRIPT X412.4
Advanced Rewriting Workshop
3.0units
This advanced rewriting workshop is for writers who want to take an
already good script and make it great. Through the process of analyz-
ing 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(s): Submit the feature-length screenplay that you will
rewrite in the course.
Reg# 398358
Fee: $795
No refund after 4 July
A Live Online
10 mtgs
Thursday, 6-9pm, July11-Sept.12
Remote Classroom
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted. $100 nonrefundable. Enrollment discounts limited to
WP NOW members; no other discounts apply.
The priority application deadline is Monday, June10 at
9amPT. Applications submitted after this date are not
guaranteed consideration.
Philip Eisner, screenwriter-director and WGA member who wrote
Event Horizon for Paramount Pictures and Firestarter 2: Rekindled for
USA Networks. Mr. Eisner has written for Scott Rudin Productions,
Robert De Niro’s Tribeca Productions, Edward R. Pressman, TriStar,
Universal Pictures, and The Jim Henson Company.
100 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
Television Writing
Beginning Television Writing
Recommended for beginning students who are writing a spec
script of an existing comedy or drama series. With the close
guidance of the instructor, students share and offer feedback
in a supportive environment focused on assessing the
strengths and weaknesses of the work.
SCRIPT X420.1
Television: Essential Beginnings
2.0units
This course demystifies the crucial first step of understanding the craft
of writing for television, making it an ideal starting point for aspiring
television writers. You learn the fundamentals of how to develop and
write a television episode in both one-hour and half-hour formats.
Using examples, you also learn the building blocks of television
structure, the differences between the formats and techniques to
organize and convey your ideas to kickstart the writing process. By
the end of the course, you gain a better understanding of television
writing and be fully prepared for the next course in the sequence,
either SCRIPT X421.3 - One-Hour TV I or SCRIPT X421.1 - Half-Hour TV
I, where you learn how to write a spec episode of an existing series.
Reg# 397888
Fee: $485
No refund after 6 Aug.
A Live Online
6 mtgs
Tuesday, 5-8pm, July23-Aug.27
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jacqueline Zambrano, writer/producer and WGA member and mul-
tiple 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, and Showtime and the Internet.
SCRIPT X421.1
Half-Hour TV I
3.0units
This course teaches you how to create an airtight story and outline
—
the critical first step in writing a strong half-hour comedy script of an
existing series 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 identifying 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.
Reg# 397890
Fee: $720
No refund after 20 July
X In Person
10 mtgs
Saturday, 10am-1pm, July6-Sept.7
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Jessica Gonzalez, M.F.A., television writer, and WGA member whose
credits include Diary of a Future President (Disney+) and the upcom-
ingKeep This To Yourself (Telemundo+). She was a writer on the audio
dramaIn the Blood (Echoverse) and also a recipient of the Alfred P.
Sloan Foundation Screenwriting Grant.
RRR
Reg# 397891
Fee: $720
No refund after 24 July
A Live Online
10 mtgs
Wednesday, 6-9pm, July10-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Marla DuMont, M.F.A., television writer/producer, WGA member, whose
credits include Bob Hearts Abishola and Mike & Molly for CBS. She
was selected for the WGA Writers Access Project in comedy and is
also a playwright whose plays have been performed across the
country including California, New York, and Florida.
SCRIPT X421.3
One-Hour TV I
3.0units
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 percent) of the writer’s
deal with any show: the story and outline. You learn to choose the best
story for your script of an existing series, map it out from beginning
to end and write a strong outline in proper script format. In the pro-
cess, you learn how to identify and capture the tone, characters,
dialogue and themes of any one-hour drama series
—
the key to break-
ing into the field. Also covered are the various genres (police procedur-
als, medical, legal) and their specific rules; what’s 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 pro-
cess 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.
Reg# 397892
Fee: $720
No refund after 15 July
X In Person
10 mtgs
Monday, 7-10pm, July1-Sept.9
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
No meeting Sept.2.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Mollie St. John, TV writer, WGA member and Animation Guild member
whose credits include Netflix’s Arcane and ABC’s Nashville. Ms. St. John
currently has several projects in development, including the adapta-
tion of a worldwide video game. She is an alum of the WGA TV Writers
Access Project.
Reg# 397893
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Erica Byrne, screenwriter and WGA member whose numerous credits
include episodes of La Femme Nikita; Nowhere Man; Silk Stalkings;
Hunter; Knots Landing; and Walker, Texas Ranger. She received the
UCLA Extension Outstanding Instructor Award in Screenwriting.
SCRIPT X421.2
Half-Hour TV II
3.0units
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 polish-
ing 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 you’ve
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(s): SCRIPT X421.1 Half-Hour TV I, or SCRIPT X421.1N Half-
Hour TV Intensive I, or department approval.
RRR
Reg# 397894
Fee: $720
No refund after 20 July
X In Person
10 mtgs
Saturday, 10am-1pm, July6-Sept.7
UCLA Extension Gayley Center: 1145 Gayley Ave.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Beverly Hunter, television comedy writer/co-producer and WGA
member, whose credits include Family Matters, Eve, Moesha, The
Parkers, House of Payne and Girlfriends. Her other credits include the
animated Disney series, The Proud Family, and she most recently sold
the pilot Three Sisters (M.O.W), to Hallmark/Crown Media.
Reg# 397895
Fee: $720
No refund after 23 July
A Live Online
10 mtgs
Tuesday, 6-9pm, July9-Sept.10
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Sam Laybourne, M.A., Emmy award-nominated, writer/showrunner,
and WGA member, who ran the third season of Acapulco for Apple TV+.
Mr. Laybourne was a consultant on That 90s Show, an executive pro-
ducer on Zoey’s Extraordinary Playlist and co-creator/co-showrunner
on The Michael J. Fox Show. He has written onBlack-ish, Arrested
Development, Real O’Neals, Cougar Town and Aliens in America, among
many others. In addition, he has written features for Columbia, 20th
Century Fox and Sony Screen Gems and developed both half-hour and
drama TV concepts for CBS, ABC, NBC, FOX, AppleTV+ and Freeform.
SCRIPT X421.4
One-Hour TV II
3.0units
Mirroring the process that professionals undergo in current episodic
series production, this course guides you to write a solid first draft of
your script of an existing series 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 act
structure, plot and story, multiple storylines, characters, scenes and
dialogue. You also learn how to develop your career game plan and
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.
Prerequisite(s): SCRIPT X421.3 One-Hour TV I or SCRIPT X421.3N One-
Hour TV Intensive I or department approval.
Reg# 397897
Fee: $720
No refund after 20 July
X In Person
10 mtgs
Saturday, 10am-1pm, July6&13; Aug.3&10; Aug.31&Sept.7
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Saturday, 10am-1pm, July20&27; Aug.17&24
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
This hybrid section is made up of In Person and Live Online
instruction.
International Students: This hybrid section is considered in person for
immigration purposes.
Carol Barbee, M.F.A., WGA member, Emmy-winning television writer
and creator/showrunner of Raising Dion (Netflix). Ms. Barbee served
as showrunner for UnReal, Jericho, Swingtown, Touch, Judging Amy,
Three Rivers andGirlfriends Guide to Divorce. Her writing credits also
include Dash & Lily, Hawaii Five-O and Falling Skies. She is currently
developing projects for Disney+ and 20th Television.
Reg# 397898
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Erica Byrne, screenwriter and WGA member whose numerous credits
include episodes of La Femme Nikita; Nowhere Man; Silk Stalkings;
Hunter; Knots Landing; and Walker, Texas Ranger. She received the
UCLA Extension Outstanding Instructor Award in Screenwriting.
Enroll at uclaextension.edu or call (800) 825-9971 Writing & Journalism 101
Intermediate Television Writing
Courses in this section are for students who have completed
at least one draft of a spec script of an existing series. The focus
is on writing and polishing a solid first draft of an original pilot.
Students also gain a better understanding of the business of
writing for television.
SCRIPT X422.1
Half-Hour TV III
3.0units
Television executives and showrunners want to read original pilots that
demonstrate your unique voice and comedic sensibilities. This work-
shop 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 writer’s room, you develop a com-
pelling story, brainstorm and support another’s vision. By the end of
course, you have strong act breaks, a full beat outline and a critique of
the beginning pages of your original half-hour pilot script.
Prerequisite(s): SCRIPT X421.1 Half-Hour TV I and SCRIPT X421.2 Half-
Hour TV II; or SCRIPT X421.1N Half-Hour TV Intensive I and SCRIPT
X421.2N Half-Hour TV Intensive II; or department approval.
Reg# 397900
Fee: $720
No refund after 24 July
X In Person
10 mtgs
Wednesday, 7-10pm, July10-17; Sept.4-11
Remote Classroom
Wednesday, 7-10pm, July24-Aug.28
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
This hybrid section is made up of In Person and Live Online
instruction.
International Students: This hybrid section is considered in person for
immigration purposes.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Danny Kallis, showrunner/television writer/director, and WGA member
who created 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 Life’s Work, Phenom, Hangin’ with Mr. Cooper and Who’s the
Boss?
Reg# 397901
Fee: $720
No refund after 24 July
MOnline
July10-Sept.17
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Andrew Osborne, M.A., Emmy-winning screenwriter, WGA Member
and Harvard Lampoon Alum, whose credits include On_Line, The F
Word, Apocalypse Bop and Cash Cab. Mr. Osborne has developed or
worked as a script doctor on projects for Orion, Warner Bros., MTV, and
the Discovery Channel. In addition, he has written comic books, web
series, theatrical productions, and every type of story-based game
from MMORPGs to first-person shooters.
SCRIPT X422.3
One-Hour TV III
3.0units
Anyone who wants to work as a professional television writer has to
be able to submit top-notch original material to agents and showrun-
ners. In this fast-paced course, you take your idea for a one-hour TV
series and turn it into an outline, write intensively and get feedback
from the instructor and fellow participants every week. Throughout
this process, you learn how to envision the world of your show; create
characters and conflict; build a storytelling engine; and nail down
your show’s structure, tone, story and act breaks. By the end of the
course, you have strong act breaks, a full beat outline and a critique
of the first ten pages of your original one-hour pilot script.
Prerequisite(s): SCRIPT X421.3 One-Hour TV I and SCRIPT X421.4 One-
Hour TV II; or SCRIPT X421.3N One-Hour TV Intensive I and SCRIPT
X421.4N One-Hour TV Intensive II; or department approval.
RRR
Reg# 397902
Fee: $720
No refund after 23 July
X In Person
10 mtgs
Tuesday, 7-10pm, July9-Sept.10
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ed Horowitz, M.F.A., screenwriter, and WGA member whose feature
film credits include Exit Wounds, starring Steven Segal and DMX; On
Deadly Ground; and K-9:P.I., starring Jim Belushi. Mr. Horowitz’s televi-
sion credits include La Femme Nikita and more than a half-dozen pilot
scripts for various networks.
Reg# 397903
Fee: $720
No refund after 25 July
A Live Online
10 mtgs
Thursday, 7-10pm, July11-Sept.12
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Gail Gilchriest, producer, screenwriter, television writer, and WGA
member whose credits include the reboot of Dallas, Sun Records, and
the feature film My Dog Skip. Ms. Gilchriest has also developed televi-
sion series for ABC, CBS, NBC, and Fox, and is the recipient of the
Horton Foote Award for outstanding achievement in screenwriting.
SCRIPT X422.2
Half-Hour TV IV
3.0units
This workshop guides you to write a solid draft of an original pilot
script from your 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 comic potential. Special attention is paid
to refining the world, characters, tone and story of your pilot. You then
move toward completing a first draft of your script, working on scenes,
dialogue and action, until it captures your original vision and matches
a network’s likely requirements. You must bring a completed story
outline and the teaser pages to the first day of class.
Prerequisite(s): SCRIPT X 422.1 Half-Hour TV III, or SCRIPT X 422.1N
Half-Hour TV Intensive III, or SCRIPT X422.7 Dramedy TV III, or depart-
ment approval.
Reg# 397904
Fee: $720
No refund after 23 July
X In Person
10 mtgs
Tuesday, 7-10pm, July9-23; Aug.27-Sept.10
UCLA Extension Gayley Center: 1145 Gayley Ave.
Tuesday, 7-10pm, July30-Aug.20
Remote Classroom
This hybrid section is made up of In Person and Live Online
instruction.
International Students: This hybrid section is considered in person for
immigration purposes.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Chip Pope, M.F.A., TV writer/producer specializing in half-hour com-
edy/dramedy; WGA and SAG-AFTRA member, whose credits include
Lopez, Beavis and Butt-Head, The Ellen DeGeneres Show, The Rosie
Show and MTV’s Austin Stories. Mr. Pope has sold or produced pilots
and shows at HBO, Comedy Central, ABC, NBC, LOGO, OWN, FOX, among
many others.
Reg# 397906
Fee: $720
No refund after 23 July
A Live Online
10 mtgs
Tuesday, 5-8pm, July9-Sept.10
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Danny Kallis, showrunner/television writer/director, and WGA member
who created 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 Life’s Work, Phenom, Hangin’ with Mr. Cooper and Who’s
the Boss?
SCRIPT X422.4
One-Hour TV IV
3.0units
This workshop guides you through writing a solid draft of an original
pilot script from your one-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 potential. Special attention
is paid to refining the world, characters, tone and story of your pilot.
You then move toward completing a first draft of your script, working
on scenes, dialogue and action, until it captures your original vision
and matches a network’s likely requirements. You must bring a
completed story outline and first ten pages to the first day of class.
Prerequisite(s): SCRIPT X422.3 One-Hour TV III, SCRIPT X422.3N One-
Hour TV Intensive III, or SCRIPT X422.7 Dramedy TV III, or department
approval.
Reg# 397907
Fee: $720
No refund after 23 July
X In Person
10 mtgs
Tuesday, 7-10pm, July9-Sept.10
UCLA Extension Lindbrook Center: 10920 Lindbrook Dr.
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Ruth Fowler, M.A., Welsh filmmaker, playwright, screenwriter, journalist
and photographer living between London and Los Angeles. She
specializes in dark, humorous drama with morally complex characters.
Her credits include Rules of the Game (BBC1/Hulu 2022) and The Great
Pretender (Sky).
Reg# 397908
Fee: $720
No refund after 23 July
A Live Online
10 mtgs
Tuesday, 10am-1pm, July9-Sept.10
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted.
7
Philip Hoover, M.F.A., TV writer, and WGA member, whose credits
include Big Shot (Disney+) and iZombie (CW). Mr. Hoover wrote and
directed the award-winning web series Language Academy (Funny or
Die) and has also developed and optioned projects for Warner Bros.
and HBO. He was a former correspondent for the San Francisco
Chronicle and has been published in New American Writing and
Scoundrel Times.
SCRIPT X422.11
One-Hour or Half-Hour TV V: Rewrite
3.0units
Whether you’ve written a one-hour or half-hour tv script, (pilot or a
spec of an existing series) your goal is the same: to dig deeper, raise
the stakes higher, stretch your characters further to make your script
one that will leave an indelible mark on its readers. If you’re writing a
pilot, have you introduced us to characters and situations that we want
to come back to week after week? If you’re writing a spec of an existing
show, have you been true to the characters and situations as we know
them, and still told a story that is somehow new? In this course, you
review the choices your characters make, the consequences of those
choices and how to make those consequences more dramatic. You
look at your actions, your pacing, your tension and your stakes, among
other things. The goal: to improve your one-hour or half-hour script
until it’s a story that demands the reader’s attention.
Prerequisite(s): SCRIPT X422.4 One-Hour TV IV, SCRIPT X422.4N One-
Hour TV Intensive IV, SCRIPT X422.2 Half-Hour TV IV, SCRIPT X422.2N
Half-Hour TV Intensive IV, or SCRIPT X422.8 Dramedy TV IV, or depart-
ment approval.
Reg# 397909
Fee: $720
No refund after 24 July
A Live Online
10 mtgs
Wednesday, 6-9pm, July10-Sept.11
Remote Classroom
Enrollment limited to 15 students; early enrollment advised. Visitors
not permitted. 7
Phil Kellard, executive producer-writer-director; WGA/DGA member
whose credits include both drama and comedy from The Wayans
Brothers; Martin; Doogie Howser, MD to Hooperman; and The Inspec-
tors. He has written series and pilots for ABC, CBS, NBC, Hulu, The
Disney Channel, Showtime, FBC, and Syfy Channel. Mr. Kellard received
an Emmy Award for instructional programming and the UCLA Exten-
sion Outstanding Instructor Award in Screenwriting, and is a contribut-
ing author to Inside the Room (Gotham Books/Penguin).
102 Writing & Journalism Enroll at uclaextension.edu or call (800) 825-9971
Advanced Television Writing
Advanced-level courses are primarily workshop-driven and are
designed for students who are well into their projects. Admis-
sion is by submission only and the selection process is competi-
tive. It is recommended that students take intermediate-level
courses prior to submitting their work. For instructions on
submitting work, contact the Writers’ Program at (310) 825-9415
or go to writers.uclaextension.edu/continuing-students. The
submission deadline for summer is June10 at 9amPT. Visitors
are not permitted in advanced-level courses.
SCRIPT X423.2
Advanced One-Hour Pilot Writing
3.0units
In today’s market, a good original pilot is an essential sample. Neither
pure episodes nor stand-alone screenplays, one-hour pilots neverthe-
less must have the feeling of both
—
all in 55-60 pages. In today’s
market, a good original pilot is an essential sample. Neither pure
episodes nor stand-alone screenplays, one-hour pilots nevertheless
must have the feeling of both
—
all in 55-60 pages. This workshop
guides you to develop a drama series premise that combines your
original vision with a network’s likely requirements. From the idea to
pilot story structure and finished script, your goal is to create a pilot
that effectively establishes ongoing series elements while bringing
your characters to life.
Reg# 397910
Fee: $795
No refund after 11 July
A Live Online
10 mtgs
Thursday, 6-9pm, July18-Sept.19
Remote Classroom
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted.
$100 nonrefundable. Enrollment discounts limited to WP NOW mem-
bers; no other discounts apply.
The priority application deadline is Monday, June10 at
9amPT. Applications submitted after this date are not
guaranteed consideration.
William Hasley, screenwriter and WGA member who has sold features
to 20th Century Fox, Universal, and Warner Bros. His TV credits include
Swift Justice; Ghost Stories; Murder, She Wrote; Kung Fu; Young Riders;
and Highway to Heaven and has also written for Castle Rock, Columbia,
and Warner Bros.
SCRIPT X423.10
Rewriting Your Script as a Showrunner
6.0units
You have written your pilot script. Now what? Those of us who have
sold pilots to broadcasters and streamers know that the job is just
beginning. This fast-paced intensive course is designed for what is
next. You begin by submitting your previously written pilot (either
half-hour or hour) and then learning how to rewrite for production
and studio notes. With feedback from your instructor and fellow
participants, you will learn the process of responding to studio cre-
ative notes and production mandatory notes. Throughout this pro-
cess, you will refine the world of your show; test your script
characters and conflict; and refine your storytelling engine. This
intensive workshop will then guide you through basic show-running
principles including how to communicate and work with your studio
and streamer, what to look for in hiring and casting; assembling a
crew, and pre-production and post production concepts. On the
business side, you will hear from guest speakers and learn how to
develop your career game plan and learn about the business of
television in this rapidly changing landscape.
Prerequisite(s): SCRIPT X423.9 Advanced TV Pilot Intensive or depart-
ment approval.
Reg# 397911
Fee: $1,590
No refund after 9 July
A Live Online
20 mtgs
Tuesday, Thursday, 5-8pm, July16-Sept.19
Remote Classroom
Enrollment limited to 12 students; early enrollment advised. Visitors
not permitted.
$100 nonrefundable. Enrollment discounts limited to WP NOW mem-
bers; no other discounts apply.
The priority application deadline is Monday, June10 at
9amPT. Applications submitted after this date are not
guaranteed consideration.
Adam Armus, Emmy award-nominated showrunner/executive pro-
ducer/TV writer, and WGA member who served as a showrunner for
many shows including Heroes, The Following, The Goldbergs, Quantico
and Proven Innocent. Mr. Armus co-created American Odyssey for NBC.
His writing and producing credits also include Zoey’s Extraordinary
Playlist, Heroes Reborn, The Practice, among others.
X In Person
Class meetings are primarily held in person
with the instructor and all students in the
same physical classroom.
m
Online
Course content is delivered through an online
learning platform where assignments are due
regularly and you can engage with your
instructor and classmates.
A Live Online
All class meetings are scheduled and held in
real-time using Zoom, allowing for live inter-
action with your classmates and instructors.
r Hybrid
A blend of in-person, online or live-online
instruction.
7Web-Enhanced Course
Internet access required to retrieve course
materials.
For extensive information visit
uclaextension.edu/student-resources.
