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Introduction to Fiction
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Introduction to Fiction

Learn the basics of fiction and start working on a short story or a novel in this recurring course taught by one of our fiction instructors. 

inspiration2publication offers this 4-week online workshop on a regular basis when we get at least three students to sign up. Let us know if you want to take this course with your writing group! 

Sign up using the form below to be notified when we offer this workshop next time! Email all your questions to i2p@antioch.edu

Introduction to Fiction

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(Re)Work It: Learning to Edit Professionally for Yourself and for Publishers with Seth Fischer
$99.00
| Led By January 14 - January 28, 2019
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You can write thousands of pages, but without editing, it’s unlikely any of those pages will see the light of day. And while writing sometimes feels an act of faith, editing is where you can master concrete techniques to improve your work. Learn how to map your narratives, improve your sentences, and add precision to every bit of writing you produce.

2-Week Class 

February 18 - March 11, 2019

CLASS DESCRIPTION

In a two-week intensive course, I’ll show you how the professional developmental editing process works for fiction and creative nonfiction, from looking at structure to copy editing each sentence to the minutia of proofreading. Get your work ahead of the curve or learn new marketable skills that writers and the publishing industry desperately need.

CLASS OBJECTIVES

  • Learn how the editorial process works, from developmental editing to copy editing and proofreading.

  • Discover how to map out a narrative and find signs that a sentence needs to be more precise.

  • Practice these tools on a short piece of your own, or one I can choose for you.

  • Obtain skills that will help you improve not just your own writing but the writing of everyone in your writing community. 

Week 1: Discussion and Submit

We'll discuss the ins and outs of the developmental editing process, which looks at the big picture in a book length narrative. We'll go over story mapping, tracking character arcs, and other macro-level editing tools. I'll also show you an example of a developmental edit, to see what they look like, and you'll submit a global edit of a short piece of your choosing.

Week 2: Practical Application

We'll discuss the ins and outs of the copy editing and proofreading process. We'll discuss consistency of voice, clarity, precision, and other road blocks you might run into at the sentence and paragraph level, and you'll practice this on a short piece of writing. 

ABOUT SETH FISCHER

 photo sethcolorwall_zpst0a6mkin.jpg

SETH FISCHER'S writing has appeared in Guernica, Joyland, Buzzfeed, PANK, and Best Sex Writing and listed as notable in The Best American Essays. He is a developmental editor for independent publishing houses and individual clients. Seth is also the nonfiction editor at The Nervous Breakdown and was a contributing editor at The Rumpus, and he teaches for Antioch University Los Angeles, UCLA-Extension, and Writing Workshops Los Angeles. 

Seth Fischer's writing has appeared in PANK, The Rumpus, Buzzfeed, Guernica, Lunch Ticket, and other publications, and he was the first Sunday editor at the online literary magazine The Rumpus. His essay "Notes from a Unicorn" was listed as a notable essay in The Best American Essays 2013 and was included in Best Sex Writing 2013. He was a 2014 Lambda Literary Emerging Voicing Fellow and a 2013 Jentel Arts Residency Program Fellow. He is also a professional developmental editor and ghostwriter, and he teaches at Antioch University Los Angeles and Writing Workshops Los Angeles.July 18 - August 1, 2016

 

You can write thousands of pages, but without editing, it’s unlikely any of those pages will see the light of day. And while writing sometimes feels an act of faith, editing is where you can master concrete techniques to improve your work. Learn how to map your narratives, improve your sentences, and add precision to every bit of writing you produce.

 

In a two-week intensive course, I’ll show you how the professional developmental editing process works for fiction and creative nonfiction, from looking at structure to copyediting each sentence to the minutia of proofreading. Get your work ahead of the curve or learn new marketable skills that writers and the publishing industry desperately need.

 

Class Objectives:

 

·      Learn how the editorial process works, from developmental editing to copyediting and proofreading

 

·      Discover how to map out a narrative and find signs that a sentence needs to be more precise

 

·      Practice these tools on a short piece of your own, or one I can choose for you

 

·      Obtain skills that will help you improve not just your own writing but the writing of everyone in your writing community

 

https://i2pregister.antiochla.edu/files/seth-fischer.jpg

 

About Seth Fischer:

 

Seth Fischer's writing has appeared in PANK, The Rumpus, Buzzfeed, Guernica, Lunch Ticket, and other publications, and he was the first Sunday editor at the online literary magazine The Rumpus. His essay "Notes from a Unicorn" was listed as a notable essay in The Best American Essays 2013 and was included in Best Sex Writing 2013. He was a 2014 Lambda Literary Emerging Voicing Fellow and a 2013 Jentel Arts Residency Program Fellow. He is also a professional developmental editor and ghostwriter, and he teaches at Antioch University Los Angeles and Writing Workshops Los Angeles.

 

Adapt Your Poem(s) for Stage: Transforming Poetry into Performance with Dana L. Stringer
$99.00
| Led By January 28 February 11, 2019
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In recent years, there has been a growing trend among poets who are discovering the theatricality of stageworthy poems and making the transition from page to stage.  Poets are now looking at ways to move beyond readership to viewership by adapting their poetry into hybrid, avant-garde, fringe, and other experimental and highly stylized forms of theatre and performance.

January 27 – February 11, 2019

2-Week Online Writing Class

Class Description

In this two week exploratory course, students will learn basic elements of drama, ways to identify dramatic elements within poems, and approaches to adapting poetry text into performative text.

Class Objectives

·       Learn the basic elements of drama and how poems can be shaped into staged performances

·       Identify dramatic elements that are apparent and not so apparent in poetry

·       Discover ways to adapt poetry text into performative text

WHAT THIS COURSE WILL OFFER

WEEK ONE:  Page to Stage

We will learn how theme, plot, character, dialogue, setting, as well as visual and musical elements function in transforming poetry into performance.  We will also look at several poets who have either effectively adapted or had their poetry adapted for the stage.

WEEK TWO:  Poetry to Performance

We will identify and discuss dramatic elements within specific poem(s) and explore the various kinds of theatre that the poems are best suited for.

Dana L. Stringer

ABOUT DANA L. STRINGER

Dana Stringer is a poet, playwright, and writing instructor.  She holds an MFA in Creative Writing from Antioch University Los Angeles, where she also serves as an instructor and instructional facilitator in the inspiration2publication program.  She is the author of the chapbook In Between Faith (Black Picket Fence, 2014).  Her poetry has appeared in the African American Review, Rogue Agent Journal, as well as additional literary journals and anthologies. Dana has seven produced plays, and she is a member of the Dramatists Guild and Working Title Playwrights.  She resides in Atlanta, Georgia.

 

Subvert the Trope! Storytelling Workshop with Haley Isleib
$199.00
January 28-February 18, 2019
Subvert the Trope! Storytelling Workshop with Haley Isleib
$199.00
| Led By January 28-February 18, 2019
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Get ready to write! This course will take you from freewriting to peer-reviewed pages of a new story. Along the way, we’ll be intentionally using, subverting and smashing common tropes to generate and revise our work.

The course is intended for all writers. Many of the published stories we will examine will be from genres such as fantasy, fairytale and science fiction. We will also use film and television references in our discussions. However, tropes and archetypes are identifiable across all genres and the class will be useful whether you write contemporary literary fiction or epic undersea dystopias set on far away planets.

4-WEEK WRITING COURSE

January 28 - February 18, 2019                

OBJECTIVES:

  • Write and receive feedback on up to 10 pages of prose.
  • Explore archetypes, tropes and clichés to discover ways to use these concepts to spark ideas for stories, build and structure stories, and create delight and surprise for readers.
  • Build skills to identify story tropes in stories you read and in your own writing.
  • Receive and provide useful feedback on writing assignments, which will help you revise work.
  • By the end of this course, you will be able to identify tropes that resonate for you, and have tools to use this knowledge to create new fiction.

WHAT THIS CLASS WILL OFFER:

Week 1 - We will develop a solid definition of a story trope (and cousin concepts like archetype and cliché) through reading assignments and discussion. Our writing this week will be informal freewriting to loosen up our trope-muscles and explore which tropes you might use for future assignments.

Week 2 - In our readings, we’ll examine methods for subverting tropes and upending expectation. Our writing this week will be up to ten pages of new fiction using a trope as a starting point. Write a short story or start something longer!

Week 3 - We’ll take a closer look at how story tropes arise from their cultural context and storytelling milieu. We’ll read and give feedback on each other’s pages and work on revising our own pages. You may be given personalized exercises tailored to your story.

Week 4 - We will explore a case study of one recent trope and how it evolved. We will turn in our revised pages and discuss what’s next for your story.

ABOUT HALEY ISLEIB: 

Haley Isleib writes in Portland, Oregon. She’s a fan of Story, all kinds in any format--books, movies, games, graphic novels, poems, miscellany found abandoned at bus stops, etc. Her writing has appeared in Daily Science Fiction, Every Day Fiction, Plasm and Fireweed: Poetry of Western Oregon, and she is the recipient of a fellowship in poetry from Literary Arts of Oregon. Her script Drones & Drivers won the Feature Script category at the Other Worlds Austin screenwriting competition in 2015 and her short films have screened in festivals on both sides of the Atlantic. She is currently a judge for the NYC Midnight Writing competitions.

 

She holds an MFA in Writing from Antioch University Los Angeles, with a focus on Writing for Young People. She’s the Programming Coordinator for the Oregon Writers Colony Annual Conference and volunteers with the Cascade Writers Workshop. Find more at haleyisleib.com.

 

A Writing Practice with Andrea Tate
$99.00
February 4 - February 18, 2019
A Writing Practice with Andrea Tate
$99.00
| Led By February 4 - February 18, 2019
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Jump start your writing practice and produce real results. Join published writer/professor Andrea Tate, MFA, in an online community that promises to motivate you into creating a writing practice that works.

2-Week Writing Class

February 4-February 18, 2019

CLASS DESCRIPTION

This class is for writers who let days, weeks, and months fly by without generating publishable work; it is for those of us who will do anything to postpone their writing practice.

You can’t query, submit, or publish unless you write first!

We’re talking about writers who use every excuse not to sit in the chair and bang out that first draft. Andrea is the first to admit she does everything and anything not to sit at her desk. Her back hurts, she’s hungry, she’s too full, she has laundry, or screw the laundry, she needs to shop for a new wardrobe ASAPThis course will help you discover your unique practice and eliminate the urge to avoid the chair. 

WHAT THIS CLASS WILL OFFER:

Week 1: Narrowing Down the Problem and Eliminating the Excuses

In Week One, you will have a new exercise daily. Here are examples of our first two days:

Day One: Before getting out of bed, write down how you think of yourself as a writer. Use adjectives and list as many as possible. "Lame," "Lazy," "Empty," you will post these adjectives then explain "why" you think these are true. After sharing these words and the reasons "why" you use them to describe yourself, you come to realize these words are not serving you, and are most likely extremely false. You create your new words. These words are your mantra. 

Day Two: You pick a time where you are free to write. I'm talking about at least two solid hours with no interruptions. You write up to 500 words using a prompt from class. You then share your writing for feedback and include a reflection of any challenges, and or successes with this writing exercise.

Week 2: Putting the New Practice Into Place

Once you eliminate the evil excuses that cause you to be a “writer who never writes,” we will put the new practice into place. Our online community will share their successes and tips for what is working and what needs adjusting. By the end of the two weeks, you will have a personalized plan that works for you, plus new writer friends who will support you. We promise that you, and the seat of your chair, will finally become one.

ABOUT ANDREA TATE

Andrea Tate is an affiliate writing professor at Antioch University, Santa Barbara. She is the faculty advisor and instructor for Odyssey Online Magazine. Her essays are published in HippocampusHuffington Post, Role/Reboot, Nailed Magazine, and Jaded Ibis Press. Her story “You” is published in the anthology Extract(s) and is part of a memoir currently in progress. Andrea has a Post MFA in Teaching Creative Writing and an MFA in Creative Nonfiction from Antioch University Los Angeles where she also served as an editor on AULA’s Lunch Ticket. She lives in Agoura Hills with her husband, musician teenager, and a Shepard puppy she calls the Land Shark. 

 

Poetry as Survival with Xochitl-Julisa Bermejo
$199.00
February 18-March 11, 2019
Poetry as Survival with Xochitl-Julisa Bermejo
$199.00
| Led By February 18-March 11, 2019
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In current times, people in this country—namely Undocumented, Native, Black, Latinx, Muslim, Queer, Trans, Women—have been under attack by the Administration and its policies, and whether you are a member of one of these targeted communities or an ally, many have been suffering from a constant state of chaos and anxiety. We may feel lost and helpless, but as Gregory Orr points out in Poetry as Survival, “story-making…becomes a major ally in preserving our sense of control over our destiny and circumstance." In this course, we will read and discuss contemporary witness and social justice poetry. We will scan these poems for examples of language, form, metaphor and storytelling and practice wielding these tools in our own writing. Finally, we will attempt to create small poetic offerings of comfort and action for our current chaotic world.

Join me in this writing workshop to learn strategies for taking rage, fear, and heartbreak and turning them into pieces of art that may hold the power to spark change.

February 18 - March 11, 2019    

LEARNING OBJECTIVES

·      To read and analyze social justice and witness poetry in order to gain a language and understanding of the genre

·      To gain and practice strategies for entering a difficult social subject matter in order to generate new works of poetry

·      To gain and practice strategies for hooking an audience into a piece of writing focused on a difficult social subject matter

·      To walk away with a finished piece of writing that can be submitted to current resistance and social justice calls

·      To obtain tools and ideas for using social media for spreading writing and awareness for social justice issues

WHAT THIS CLASS WILL OFFER

Week One: Facing the Difficult

 

How do you write about a social justice issue that is difficult, and perhaps even physically painful, to look at? This week we will read pieces by Juan Felipe Herrera, Claudia Rankine, and Ashaki M. Jackson looking for strategies to trick the mind into writing about a difficult topic. We will write new pieces using at least one strategy from the readings.   

 

Week Two: Hooking an Audience

How do you get an audience to read a piece about a social justice issue that is difficult to look at or spend time with? This week we will read pieces by Martin Espada, Carolyn Forche, and Javier Zamora looking for strategies to hook the reader. We will write new pieces using at least one strategy from the readings. 

Week Three: Working the Writing

Everyone will submit one piece to be workshopped by the group with the objective of revising the piece based off feedback for the following week. 

Week Four: Finding a Home

We will survey current open calls for social justice and resistant pieces as well as look at ongoing social media campaigns such as Poets Responding to SB1070 and #blackpoetsspeakout in order to find possible places to submit or post new work generated in the workshop.  

ABOUT XOCHITL-JULISA BERMEJO

Xochitl-Julisa Bermejo is the author of Posada: Offerings of Witness and Refuge (Sundress Publications 2016), a 2016-2017 Steinbeck Fellow, former Poets & Writers California Writers Exchange winner and Barbara Deming Memorial Fund grantee. She’s received residencies from Hedgebrook and Ragdale Foundation and is a member of the Macondo Writers’ Workshop. Her poetry is published in American Poetry Review, CALYX, crazyhorse, and Tahoma Literary Review among others. A short dramatization of her poem "Our Lady of the Water Gallons," directed by Jesús Salvador Treviño, can be viewed at latinopia.com. She is a cofounder of Women Who Submit and the curator of HITCHED.  

COURSE POLICIES

Students are asked to stay professional and thoughtful within this online forum. Offensive language and/or personal attacks will not be allowed as they are not conducive to the learning environment.

 

 

The World in a Flash: Flash Prose with Kate Maruyama
$199.00
February 18 - March 11, 2019
The World in a Flash: Flash Prose with Kate Maruyama
$199.00
| Led By February 18 - March 11, 2019
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Flash fiction, flash prose, sudden fiction, micro fiction. The definitions vary: “work under 1500 words” or “work under 1000 words,” and sometimes, “work under 500 words.” The good news is these small spaces can be quite dynamic and the creative possibilities within this form are endless.

Journals are looking for flash prose, and, as the pieces are so short, they can fit more in each issue, which ups your chances of publication. In this course we will do exercises which will generate your own flash prose and look at different ways in which various forms of flash prose work. We will workshop through revisions and you should come away with a few solid pieces, and, most important, the tools to keep generating flash prose that resonates.

This class is aimed around continuously generating new material over the course of the month. A writer CAN generate up to five new pieces a week, or choose to focus on a few pieces for the duration of the class.

4-Week Online Writing Class

February 18 - March 11, 2019

CLASS OBJECTIVES

• Generate new pieces of flash prose, fiction and non-fiction.

• Look at examples of flash prose that work and discuss in depth the variety of ways in which it can work.

• Workshop pieces of your flash prose with your instructor and peers.

• Rewrite your prose and prepare it to send out. Discuss marketplaces that take different kinds of flash prose and come up with a plan for submission.

WHAT THIS CLASS WILL OFFER

Week 1. Flash Prose: Inside and Out

We will look at the variety of flash prose available, discuss its flexible form and talk about the ways in which it can compress time or slow it down. Using prompts, you will generate first draft pieces of flash prose.

Week 2: Workshop!

Workshop! You will workshop a piece of flash prose you have generated and rewritten in the prior week. Your peers will respond to your work and give you suggestions and tools to use to create a new draft. During this week, using prompts, you will continue generating new flash prose.

Week 3

Workshop and generating new work continues. In this week we look at examples useful to specific pieces generated by the group.

Week 4: Submit!

We talk about appropriate places to submit your work. Prompts are available for continued generation of work and we wrap up the workshop section.

ABOUT KATE MARUYAMA

Kate Maruyama's novel HARROWGATE was published by 47North. Her short work has appeared in Arcadia, Stoneboat, Whistling Shade and on Salon, Duende, The Rumpus among other journals as well as in two anthologies: Winter Horror Days and Phantasma: Stories. She teaches in the BA and MFA programs for Antioch University Los Angeles as well as for Writing Workshops Los Angeles and the inspiration2publication program. She writes, teaches, cooks and eats in Los Angeles where she lives with her family.

TESTIMONIALS: 

"As a poet, I have always wanted to explore more deeply the difference between prose poems and flash prose. When I won the raffle for a free class with I2P, I knew Kate’s class was the one I wanted to take. Kate is a talented and smart instructor. Her knowledge and love of flash prose were evident in the variety of reading assignments and her feedback. Her ability to balance leading a class and adapting to students’ interests and schedules is exceptional. She makes teaching an online class seem effortless! I completed the class with a better understanding of flash prose, but also with several workable pieces. Above all, Kate knows writers and particularly the type of writers that would enroll in an I2P class — writers with full lives around which we are trying to find those precious moments for writing. I told her I wanted to generate new pieces in the four weeks and each week she gave us five engaging prompts each week. Moreover, Kate encouraged us to choose if we wanted to post more in the generative discussions or the workshop discussions. This is essential in working with writers because we cannot always control when and where our writing will be within a 4-week workshop. I would highly recommend this course for writers of all genres who want to dig in for some close writing and work with a seasoned writer and editor like Kate."

~Lisa Cheby

 

Writing the Queer Body with Antonia Crane
$199.00
March 4 - March 25, 2019
Writing the Queer Body with Antonia Crane
$199.00
| Led By March 4 - March 25, 2019
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In Writing the Queer Body, a 4-week hybrid creative nonfiction/fiction class, we will bring our queerness to the page by stepping inside/outside the slippery, messy, beautiful strange shadow of our labeled gender identity and explore gender POV from multiple angles. You will write about a first time as another gender. And you will write a short story and scene containing queer themes. During the 4-week course, you will embody “otherness” on the page.

How do we name and embrace our marginalized identities, our unique sexualities and our labels? We draw upon our lived experiences to build a collective analysis of systemic injustice, organize together for change and rebel against systems in place. “Queer” implies boundedness and fluidity. It implies other, it implies together.

To borrow from writer, teacher, performer, activist Steve Yelvington-Jones:

“Queer” emerges as an anti-identity identity. An identity or identities that embraces (embrace) its (their) own instability. An identity that (at its best) acknowledges the upside downers of “identity politics”—to name our experiences, to name oppression, to use those experiences as the basis for articulating a vision for bold queer social change—while also challenging essentialism, challenging rigid identities, and perhaps even more profoundly, challenging the very system through which our identities have been named as “other.’

Queer redirects scrutiny onto those systems of classification. Queer picks at “normal’ like a scab, then eats it. Queer negates labels or else queer embraces many labels. Queer asks what the fuck is a label anyway?”

Bring your so-called labels to class and we shall get busy unpeeling them. Although we will be reading excerpts by serious queer pioneers like: David Wojnarowitz Monique Wittig and Kathy Acker, we will remember Queer has a playfulness to it in word and concept that welcomes mixed messages and blurry Sapphic salaciousness.

March 4 - March 25, 2019

4-Week Writing Class

CLASS OBJECTIVES

  • Course Goals: Participants will consider elements of craft related to gender (theme, dialogue, characters, setting, pacing, exposition), community in producing artful, original works of their own from 1000-1500 words. Students will have completed one edited piece ready-for-possible publication, with rough draft versions for many more. By the end of the course, students will be comfortable sharing their writing and offering constructive criticism to others.
     
  • Group discussions will focus on exploring gender POV from multiple angles, particularly that which is other than the author’s given gender.
     
  • Writing exercises will be used to explore the terrain of gender POV, to write about “what we don’t know” and stepping outside of our familiar routine selves in order to imagine unique sexualities and inject characters with gobs of heart.
     
  • Reading material will be aimed at exploring gender identity and elements of craft in scenes and compelling personal essays. Specifically, we will question the terrain of gender and what we assume in our culture about sex and gender. Through our readings, we will use gender and queerness as a literary tool for liberation and social justice in our essays/stories. Participants will be expected to read supplied material and engage in a critical way that will inform and progress their own work.
     
  • Posting our work to the discussions will allow participants to receive feedback from their peers about gender and POV as well as give thoughtful, descriptive and helpful input to their peers on how they utilized queerness to enhance their work.
     
  • Instructor will take the participants through the revision process from a first draft to a well-crafted personal essay or short story.

WHAT THIS CLASS WILL OFFER

Week 1: Becoming “I”

Lecture: My personal experience with writing about being queer and having a unique sexuality and how those experiences inform my work. Students will complete a writing prompt. Student introductory discussion.

Week 2: Becoming “We” Queer Voices & Queer Bodies

Lecture: Exploring the Queer Body in scene: Excerpts by David Wojnarowitz, Monique Wittig and Kathy Acker. We will remember Queer contains playfulness— as both word and concept that welcomes mixed messages and flips power dynamics and binaries. Students will complete a writing prompt. Student discussion on lecture topic.

Week 3: A Sense of Scene: Sex, Identity and Crisis

Lecture: Why Do Little Drag Queens Play With Dolls?” by Tim Yelvington-Jones: We will focus on the crisis of coming out and what it looks like on the page to reveal oneself fully. Participants will complete the third writing assignment. Student discussion on lecture topic of bravery on the page.

Week 4: Queer Community & Revision

Lecture: Suggested resources: Queer publications to submit your work. Writing assignment: Revision. Student discussion on lecture topic, and the process of revision. Each week there will be a lecture, a discussion forum, a writing assignment, and optional extra reading material. Instructor will give detailed feedback on the first assignment and works with participant to revise and edit that assignment for a final draft.

ABOUT ANTONIA CRANE

antonia crane

Antonia Crane is the author of the memoir, Spent (Barnacle Books, Rare Bird Lit). She is a writing instructor, stripper and performer in Los Angeles. She has written for The New York TimesThe BelieverThe Toast, Playboy, Cosmopolitan, Salon.com, The Huffington Post, The Rumpus, Electric Literature, DAME, The Establishment, The Los Angeles Review, Quartz: The Atlantic Media, Bustle, Medium.com, Buzzfeed, Lenny Letter and lots of other places. Her screenplay The Lusty (co-written by Transparent director, writer Silas Howard), based on the true story of the exotic dancer’s labor union, is a recipient of the San Francisco Film Society/Kenneth Rainin Foundation Grant in screenwriting. She is a Producer for several episodes of the scripted internet series DRIVEN, and she wrote and produced Episode Poppy starring Breeda Wool and Sam Ball. She has appeared on CNN’s This is Life with Lisa Ling and has been interviewed on WTF with Marc Maron and Michael Smerconish on httpss://www.siriusxm.com/potus where he compared dancers to Uber drivers.  She is currently writing and producing films for the Sex Worker Community at large.