2019 is approaching and as you look beyond your holiday celebration and travel plans, we hope you’ll check out our Winter course offerings to get those annual writing goals started out right. Check out our course offerings across creative writing, poetry, editing & publishing, and screenwriting. And if nothing here strikes your fancy, we’re always available to help choose the right course for your experience level and goals. Just email writers@uclaextension.edu.

Creative Writing

Fiction: Essential Beginnings with Rachel Kann (onsite) and Michael Buckley (online)
If you want to get started in Fiction writing but aren’t sure where to start, we have several options for you. This course will set you up with the tools to understand fiction as a form as well as a few short pieces developed in class with feedback from your instructor and classmates – a great introduction to fiction workshopping.
Reg# 364638 (onsite – Woodland Hills) 364363 (online)
6 weeks

Nonfiction: Essential Beginnings with Roberta Wax (onsite) and liz gonzález (online)
Same as above, but with a focus on nonfiction (real-life inspired) storytelling.
Reg # 364817 (onsite – Woodland Hills) 364818 (online)
6 Weeks

Short Story III with Paul Mandelbaum
An advanced course which is the (strongly) recommended first step in our MFA Application Prep Specialization. If you’re aiming to get into an MFA program for Creative Writing this year, this is the place to start. This course is also great for anyone looking to compose and polish short stories who has significant experience already in the craft.
Reg# 364695 – Classroom (UCLA)

Flash Forward: Writing Microfiction and Nonfiction with Mieke Eerkins
Whether your work is focused within fiction or nonfiction (or you dabble in both), this is a great class for exploring an increasingly popular form of short storytelling. Not only will you learn more about this format and genre, you’ll come away with a few pieces developed in class.
Reg# 364838 – 6 weeks, Online



Cuento Poems with liz gonzález
Whether you write prose or poetry, this course is a solid introduction to the Cuento form of short, concise narrative poems. With the support of your instructor and fellow students, you’ll create several new works, as well as cultivating a deeper understanding as a poetry reader and writer.
Reg# 364831 – 6 weeks, Online

Editing & Publishing

Copyediting with Karen Craigo
You’re a writer. You should understand how copyediting works.
You want to be an editor/publicist/agent/publisher. You should understand how copyediting works.
You work with words. You should understand how copyediting works.
Reg# 364836 – Online

Developmental Editing with Seth Fischer
See above.
Also, developmental editing focuses on line edits as well as story, pacing, and overall mechanics. So not only is it essential for folks going into the publishing industry, it’s a great tool for writers to use in checking their own works before submitting to editors, agents, and/or publishers — and learning how to be a better storyteller.
Reg# 364837 – Online


NEW: One-Hour TV Spec Script Writing in a Month: Part 2 with Zac Hug
The second half of our new, accelerated spec writing course gives students the opportunity to finish what they started in part one – completing an hour-long spec script with class time on just two weekends.
Reg# 364968
2 weekends (1/26 – 1/27 & 2/23 – 2/24), Classroom (UCLA)

Writing for Emotional Impact with Karl Iglesias
If you’ve been working on your screenplay but find yourself stalled and looking for a different way of approaching your story and characters, this could be the class for you. Focusing on writing for emotional impact can help elevate your writing from just getting down the basics to creating something that readers won’t be able to put down (and hopefully viewers won’t be able to stop watching)!
Reg# 364895 – Online

Writing Screenplay Coverage with Barney Lichtenstein
One of the best ways to up your own storytelling game is by studying the scripts of others and understanding the perspective of the gatekeepers to reps, competitions, and productions companies: readers. By knowing what readers look for, and how to give it to them, you can elevate your script from one that’s passed over to one that’s passed on to the agent, producer, or company of your choice.
Reg# 364893 – Online

Beginning Writing for the One-Hour Spec I with Joan Weiss or Lia Langworthy /
Beginning Writing for the Half-Hour Spec I with Tom Pinchuk or Jim Staahl
We know how much you want to start a new year by charging headlong into your ambitions. However, when it comes to craft and delving into creating the best, strongest writing you can, the most likely place for a new TV writer to start out is one an existing show.
Having your own ideas for a pilot and series is fantastic, but when it comes to writing as a craft AND a job, taking shortcuts when starting out is an easy way to hobble yourself later. For everyone who wants to write for TV, we strongly recommend starting with the spec classes to learn the foundations of writing for television – the storytelling, the structure, the feedback-heavy nature of a writers’ room – will be covered in these classes. They are vital foundations to building a career in TV writing that no one should miss.
One-Hour Spec: Reg # 364769 (onsite – UCLA) or 364770 (online)
Half-Hour Spec: Reg # 364771 (onsite – UCLA) or 364772 (online)

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