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Be Heard! Recording and Uploading Your Writing with Robert Morgan Fisher
$99.00
| Led By April 15 - April 29, 2019
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So you’ve been published and asked to do a promotional reading at a book store or on a radio show. Or maybe you’ve seen some of the new online publications/contests asking for “audio” and you’re asking: How can I get in on that? It’s actually a lot easier than you might think. And in today’s publishing world, it’s very important to be able to step up and read your work—either in a live public forum or online.

2-WEEK COURSE

April 15 - 29, 2019

CLASS DESCRIPTION

In this two-week intensive, we’ll look at the rapidly-expanding world of literary audio. We’ll download and listen to podcasts, find out what sort of equipment you need (don’t worry, it’s not that expensive and very low-tech) and explore submission opportunities (contests, publications, et cetera). Plus, we’ll also learn some practical tips on how to voice your writing. And if at the end of the course, you still don’t feel comfortable doing it yourself, we’ll learn about alternate methods of recording your work.

CLASS OBJECTIVES

* Study and discuss several literary audio podcasts and online audio literary journals.

* Learn how to download and use the right program and what kind of USB microphone to use.

* Learn how to convert a file to MP3.

* Learn how to create a “portable acoustically-correct studio” for less than $20.

* Demystification of the audio literary process and increased confidence in getting your own work properly recorded and out there.

WHAT THIS CLASS WILL OFFER

Over the course of two weeks, we’ll explore literary audio on the web and discuss it in detail. I’ll also direct you to resources (many of them free) that you can bookmark for when you’re ready to record your work. The syllabus provides prompts to get the discussion going—but students are encouraged to come up with their own questions and avenues of thought.

Week 1

The New Yorker Fiction Podcast, Golden Walkman Magazine and other purveyors of literary audio. (At the end of the course, students will be asked to share and discuss their favorite pieces).

* Practical list of what you’ll need to record your work and the general cost. If you feel inspired to acquire equipment, I’ll walk you through setup during week two.

Discussion: What are the advantages of voicing your own work? How do the stories affect us when read by someone other than the author?

Week 2

* The important technical sites to bookmark and programs to download.

* How to create a “portable acoustically-correct studio” for less than $20.

* How to use recording programs like Audacity; how to edit and create an MP3.

* How to troubleshoot technical problems.

* How and when to record your work at a professional studio, the advantages/disadvantages.

* How to submit to audio literary magazines/contests.

Discussion: Do you feel more confident about recording your own work? What audio pieces did you like, if any, and why? What’s your plan for jumping into the world of literary audio?

ABOUT ROBERT MORGAN FISHER

Robert Morgan Fisher’s fiction has appeared in The Arkansas ReviewRed Wheelbarrow, The Missouri Review Soundbooth Podcast, Dime Show Review,0-Dark-ThirtyThe Huffington PostPsychopompThe Seattle ReviewThe Spry Literary Journal34th ParallelThe Journal of MicroliteratureSpindrift,Bluerailroad and many other publications. He has a story in the 2016 Skyhorse Books definitive anthology on speculative war fiction, Deserts of Fire and in the forthcoming Winterwolf Press Howl of the Wild Anthology. He’s written for TV, radio and film. Robert holds an MFA in Creative Writing from Antioch University Los Angeles and is currently on the teaching faculty of Antioch University Santa Barbara. Since 2016, Robert has led a twice-weekly writing workshop for veterans with PTSD in conjunction with UCLA. He often writes companion songs to his short stories. Both his music and fiction have won many awards. Robert also voices audiobooks. (www.robertmorganfisher.com)

 

Let's Write a Short Story with Natalie Truhan
$199.00
April 22 - May 20, 2019
Let's Write a Short Story with Natalie Truhan
$199.00
| Led By April 22 - May 20, 2019
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“When seriously explored, the short story seems to me the most difficult and disciplining form of prose writing extant. Whatever control and technique I may have I owe entirely to my training in this medium.”~ Truman Capote, interview to The Paris Review.

 

4-Week Writing Class

April 22 - May 20, 2019

This course will take you from story inception to a finished draft through several stages of revision. Along the way, you will learn elements of a short story. Our goal is creating a story that, as the writer Michael Swanwick put it, “is like a knife–strongly made, well balanced, and with an absolute minimum of moving parts.”

I want you to become a radical explorer of your story and its possibilities. I will encourage you to approach your story from different angles, striving to better understand your artistic intention and ways to realize it. 

The course is designed for writers of fiction who want to explore a structured approach to developing a traditional story, as well as for writers of creative nonfiction and poetry who want to delve into writing short fiction.

LEARNING OBJECTIVES:

By the end of this course, the students will be able to:

• identify the initial idea for a short story;
• develop a short story by exploring point of view, characterization, timeline, sensory detail, imagery, and more;
• share their work in progress and provide feedback which will help their peers write the best possible story.

WHAT THIS CLASS WILL OFFER: 

In Week 1 we will learn to identify the protagonist and the story.

In Week 2 we will do what Antonya Nelson calls “putting a clock on the story”.

In Week 3 we will explore theme and imagery.

In Week 4 will do something crazy and discuss what’s next for your story.

LEARNING ACTIVITIES:

• Writing exercises: Each week students will complete writing assignments that will take their stories from the initial idea to the finished draft.

• Share work and provide feedback in discussion forums: Students will post their writing and give feedback on each other’s work.

• Assigned readings: Students will read assigned short stories and discuss them in forums to develop a better understanding of elements of short fiction.

• Progress discussions: Students will be encouraged to discuss their progress and reflect on their process.

ABOUT NATALIE TRUHAN: 

natalie-truhan

Natalie received her MFA from Antioch University Los Angeles. She is a former Translation Editor of The Lunch Ticket literary journal. She lives in Los Angeles where she writes fiction and translates poetry. Connect with Natalie on Twitter or on Instagram.    

Interested in this course? Let us know.

* indicates required
 

 

Laying Down the Tracks: Jump Start Your Screenplay in Four Short Weeks with Kate Maruyama
$199.00
| Led By May 6 - June 3, 2019
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In this class, we will go over the basics of screenplay structure, character and scene and will get you jump started on your screenplay in a friendly workshop environment. With your classmates, you will also work up a pitch that will not only help you move your screenplay forward, but work it into a marketable entity.

May 6 - June 3, 2019

4-Week Online Writing Class 

CLASS OBJECTIVES

*To learn the basics of screenplay structure and scene.

*To learn how to create a pitch that will both further your screenwriting and help eventually sell others on the idea of your screenplay.

*To come away with a solid take on Act I of your screenplay.

*Obtain the tools to keep submitting on your own well into the future.

WHAT THIS CLASS WILL OFFER

Week 1: Scene

What makes a good scene? What are your basic elements and who are your main characters? Through scene you will be able to get to know your characters and what they want and be able to launch forward. Examples of great scenes will be given in class.

Week 2: The Three Act Structure

A movie’s blueprint. We will go over what needs to happen in three acts, with emphasis on the characters and situation you’ve created. We will ask questions of your story and get a solid sketch of an outline with which to move forward.

Week 3: The Pitch:

In screenwriting the pitch is everything! I will give you the basics of what makes a solid pitch, both elevator length and two page submission-worthy pitch. You will, having outlined your story, work it into a pitch to share with your classmates and workshop.

Week 4: Act I the Workshop:

By now you will have written Act I! We will discuss your work in a workshop environment and come up with an action plan for continuing your screenplay outside of class.

ABOUT KATE MARUYAMA

Kate Maruyama

Kate Maruyama’s twenty years in the film industry started when she was an agency assistant at William Morris, where she learned the ins and outs, from contracts to deals, indie movies to studios films, indie releases to negative pickup. She moved on to Jon Peters Entertainment where she worked as a development assistant, developing pitches, giving notes on screenplays and finally was Director of Development at Sylvester Stallone’s company White Eagle at Universal where she worked with writers and executives developing pitches and screenplays for production. She was a script consultant for Demarest Films and for Village Roadshow Pictures for ten years. She then quit to write and learned the other side of the screenwriting world, with a number of scripts in development and had one screenplay produced. She has consulted on numerous screenplays since and has a knack for developing them into the type of material producers and actors are looking for.

Her first novel Harrowgate was published by 47North and she appears in numerous print and online journals as well as in anthologies.

Kate holds an MFA from Antioch University Los Angeles in fiction where she is adjunct faculty in the BA program and Affiliate faculty in the MFA program. She teaches with Writing Workshops Los Angeles and is part of the team behind Antioch’s inspiration2publication program.

 

Putting the Creative in a Creative Nonfiction Memoir with Patrick O'Neil
$199.00
| Led By June 3 - July 1, 2019
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List Price: $199.00

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Creative nonfiction merges literary fiction (and possibly poetry), research nonfiction, and journalism. It employs the same literary devices as fiction, such as setting, voice, and character development. This is what makes it different from standard nonfiction writing, and that difference is what this course is about. We will explore the use of scenes, dialogue, character arcs, and timelines; as well as discuss the difference between actual memories, and memories clouded by fear, resentments, and the passing of time.

4-Week Online Writing Course

June 3 - July 1, 2019

This course will focus on the use of literary devices in nonfiction. There will be four lectures to read, and we will discuss one topic each week. Students will submit a short work of nonfiction/memoir at the beginning of the course. Then over the next four weeks they will revisit their original submissions and revise them using instructor notes and the ideas and materials that have been presented and discussed each week. On the final week they will submit their revised manuscript.

CLASS LEARNING OBJECTIVES

Students will be encouraged to develop their own writing within the context of Creative Nonfiction Memoir. We will analyze various elements traditionally considered as craft utilized by writers of fiction. Our focus will be to learn how to incorporate those elements into our writing. The course will invite students to consider the issues raised in the process of writing memoir, aiming to uncover various methods of confronting potential problems. Through lectures and group discussions students will be provided information that they can use to analysis and revise their own writing.

Recommended Texts:

While not required reading, these memoirs successfully utilize the literary devices we will be discussing.
Liars’ Club, Mary Karr
Permanent Midnight, Jerry Stahl
The Glass Castle, Jeannette Wells
The Los Angeles Diaries, James Brown
Jesus’ Son, Denis Johnson
Let’s Not Go To The Dogs Tonight, Alexandra Fuller
Another Bullshit Night In Suck City, Nick Flynn
The Bill From My Father, Bernard Cooper

Class Schedule:

WEEK 1

Lecture: Scene/Setting: descriptive scenery and the responsibility of each scene as it pertains to the basic idea of your writing.

* Student introductory discussion, and discussion on topic of lecture.

* Students submit short work of nonfiction/memoir (no more than 5-7 pages)

WEEK 2

Lecture: Dialogue: develop an ear for actual dialogue. Minimizing “wordiness” to better express emotion. Recreating dialogue from past events, and utilizing dialect, the pro’s and con’s of grammatical gymnastics.

* Student discussion on lecture topic

* Students work on writing exercise and revising their original submission.

WEEK 3

Lecture: Character Development: through the use of description, dialogue, actions, and non-actions. How to make your characters come alive by showing, not telling. And the narrator as a character

* Student discussion on lecture topic

* Students work on writing exercise and revising their original submission.

WEEK 4

Lecture: Memory/Timeline/Structure – what to use, and what not to use, creative editing of reality, and the reliability of memory.

* Students discussion on lecture topic, and the revision process

* Students submit revised original submission of nonfiction/memoir (no page limit)

ABOUT PATRICK O'NEIL

Patrick O’Neil is the author of the memoir Gun, Needle, Spoon (Dzanc Books). His writing has appeared in numerous publications, including Juxtapoz, Salon, The Nervous BreakdownAfter Party Magazine, and Razorcake. O’Neil is a contributing editor for Sensitive Skin Magazine, a Pushcart nominee, a two time nominee for Best Of The Net, and a PEN Center USA Professional and former Mentor. He holds an MFA from Antioch University Los Angeles where he is an instructor for the inspiration2publication program. Most days you can find him teaching some form of creative writing at various rehabs, correctional facilities, institutions, and workshopsand he is the co-coordinator for the Why There Are Words, Los Angeles reading series. O’Neil currently lives in L.A.’s monument to broken dreams, the über hip downtown district, with his fiancé and two giant Maine Coons. For more information, please visit: patrick-oneil.com.

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

 

 
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