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From Paper to Pixels: Writing Online Content that Matters and Gets Noticed with Seth Fischer
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To many writers, the Internet is a scary place: we spend more of our lives on it than we'd like to admit, it lacks that delicious book smell, photos of fluffy cats and sloths seem to eat up more and more of our time, and no matter how many social networks we join, we can't shake this feeling that we're not doing enough. Other writers see endless potential in the Internet, envisioning blogs and clever Twitter handles turning into book contracts turning into millions of dollars in royalties.

This class aims to look past all this fear and improbable expectation to ask a different set of questions we writers should be well-equipped to answer: How can you use the Internet to tell the best possible story? What tools does the Internet offer that print books do not, and how might those be useful for you? What sorts of articles and stories have the Internet powers-that-be come to expect in online writing, and how can you use that information? What online publications might be the best fit for your writing? Is your writing a good fit for these publications, or might the Internet be better used in other ways to further your projects? In sum, how can you, as a writer, use the Internet to create the best writing and storytelling while reaching as large an audience as possible?

4-Week Onlinw Writing Class

Learning Objectives:

  • Explore ways that we can use the Internet to best achieve our goals by sharing our knowledge about its changing landscape

  • Identify best practices for writing and living online, discovering ways to best use the Internet as a tool rather than vice versa.

  • Compose a short piece of writing that incorporates these practices, identifying the best venues for potential publication.

Week 1: An Internet Accounting

We will explore and discuss, through examples and through an assignment, what our online diet consists of and why we are attracted to the parts of the Internet we most often find ourselves in. We will analyze the patterns of this diet and begin to rethink our online habits. 

Week 2: A New Plan

In this second week, after having taken an accounting of our online habits, we will work to develop a plan for how to alter our online habits to best achieve our writing goals. Then, we will begin to plan a writing project that will allow us to use the Internet to achieve them.

Week 3: Practicing Writing Online

In this third week, we will explore in detail the differences between writing online and writing in print, as well as the similarities. Each student will develop a plan for their writing project and they will write a rough draft.

Week 4

In the final week, students will share their final projects and provide feedback for one another. We will polish this into a finished piece, which we will ideally submit to online publications or post on our own blog or website. 


About Seth Fischer:



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. 

Interested in this course? Let us know.

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Making Poems: Turning Thoughts, Memories, and Life Experiences into Poetry with Dana L. Stringer
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There are numerous approaches to poetry writing, and in this exciting 4-Week introductory course, designed for writers who are new to the poetry genre, students will learn the essential nuts and bolts of poetry writing in a safe and supportive online environment. The course will primarily focus on free verse poetry and introduce the use of specific poetic devices to help craft effective poems. Students will write poems prompted by writing exercises, provide peer feedback, read selected poems from contemporary poets, and participate in online discussions.

4-Week Online Writing Course

COURSE OBJECTIVES

The primary goal of this course is to introduce students to the basic elements of poetry writing, familiarize students with key terminology, help students develop their poetic voice, assist students in crafting poems and gain a solid understanding of the art and craft of poetry writing.

WHAT THIS CLASS WILL OFFER

WEEK 1

In the first week, students will learn the role of the line in poetry by exploring the various effects created with line breaks, line length, stanzas, pauses, enjambment, end-stop, and punctuation.  Students will draft their first poem, post it, and receive peer feedback.  Students will also read and discuss a selected poem.

WEEK 2

In the second week, students will learn key terminology and how to employ the use of figurative language in poetry. Emphasis will also be placed on the use of concrete and sensory details. Students will draft their second poem, post it, and receive peer feedback.  Students will also read and discuss a selected poem. 

WEEK 3

In the third week, students will explore the use of sound devices that contributes to musical qualities of poetry. Students will draft their third poem, post it, and receive peer feedback.  Students will also read and discuss a selected poem. 

WEEK 4

In the final week, we will discuss helpful tools and resources available for poetry students, including important websites, poetry readings, workshops, and essential poetry books to read.  There will be an open forum discussion where students can ask any additional questions concerning specific poetry topics.

About Dana L. Stringer:

Dana L. Stringer

About Dana L. Stringer

Dana Stringer is a poet, playwright, freelance writer and writing instructor.  She holds an MFA in Creative Writing from Antioch University Los Angeles, where she currently serves as an online instructor and instructional facilitator in the Inspiration2Publication Program.  In addition, she is an academic writing tutor for an eLearning corporation, serving colleges, universities, libraries, and school districts.  She is the author of the chapbook In Between Faith (Black Picket Fence, 2014).  Her poetry has appeared in the African American Review as well as other literary journals and anthologies.  She has also been a contributing writer for several online outlets.   In addition, Dana is a member of the Dramatists Guild and Working Title Playwrights.  Her produced plays and staged readings include:  Kinsman Redeemer, ID, The Costume Waver, Colored in Winter, Looter, Ms. Frankie Lee, Spare Change, Secret Life in a Sacred House, and Solomon’s Porch.  She is based in Atlanta, Georgia.

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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From Heartache to Hard-Ons: How to Write a Potent Sex Scene with Antonia Crane
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SEX. Everyone wants it. Everyone does it. Cell phones were invented as a monument to it. As a culture, we are obsessed with it. Why are so many writers so good at writing bad sex scenes while others chicken out altogether, ending vague erotic embroilments with a wet spot, panties on the floor and a shame walk?

In this four-week course, you will not write good sex scenes—at first. You will write bad ones. After the performance anxiety is removed, we will get down to the business of what really matters the most, which is that horrible, awkward, exciting and heartbreaking truths are revealed about your characters throughout a sexual interaction. Sex scenes are important because it’s an opportunity to allow your characters to lay bare while being pushed up against their greatest fears and desires.

Great sex scenes are not about what goes where and how lubrication advances but what is revealed about your characters during the sexual encounter. In this 4-week course, you will write about desire and heartbreak like your life depends on it.

This course is designed for writers of fiction and creative non-fiction of all levels.

4-week Course

Instructor's Bio: 

 Antonia Crane is a writer, professor, and Moth Story Slam Winner in Los Angeles. She is the author of the memoir Spent (Barnacle Books/Rare Bird Lit, March, 2014). Her other work can be found in PlayboyCosmopolitan Magazine, Dame Magazine, Salon, PANK magazine, Black Clock, The Rumpus, The Weeklings, The Believer, Frequencies, Slake, The Los Angeles Review, The New Black, and lots of other anthologies. She is a co-founder and Senior CNF editor of the Antioch Alum journal The Citron Review and the CNF editor of Word Riot. She can be found running up Griffith Park mountain and here: https://antoniacrane.com. She tweets @antoniacrane.

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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Mommie Brain: Document Your Parenting Journey with Rachel Schinderman
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My mom used to say, "Write it down, or you'll forget."  And in that way how moms are usually right, she was right.  If I don't write it down, I do forget, but if I do actually write it down I usually discover and remember and experience more. This is why we write. This is why we document.

COURSE DESCRIPTION: Motherhood today is all encompassing.  Writing about motherhood fills every corner of the internet.  There are articles, listicles, pieces of advice, and everything in between covering every aspect of parenting, momoir as some call it; the heart of which is the personal essay. Documenting our children on the internet to scrapbooking to keeping old report cards is not new.  Exploring our own experiences as mothers though through essays and stories is. Whether you keep a memory journal, document a birth experience, or are trying to have an article published, this class will provide those tools.  This class will provide an opportunity for women to document their pregnancies as well as the experience of being a mother.

This class is designed to help capture a fleeting but important time in our lives as mothers, and to explore Momoir.  Let’s take our documenting of our kids beyond the scrapbook and let’s explore our own experiences as well.

Come exercise your Mommie Brain!

4-WEEK CLASS

CLASS OBJECTIVES:

Identify, study, and compare different essays in momoir.

Develop free writing skills.

Create a writing routine.

Compose an essay that fits into momoir.

Learn about the motherhood essay market.

What This Class Will Offer:

Week One: I’m the Kind of Mother Who…

We will explore and read a few published essays in this form, both funny and more serious. 

We start JOT DOWN TIME, free writing to capture the moments we always think we will remember as we parent but most likely won’t.  We will do this each week.

We will answer the question, “I am the kind of mother who…” to be able to get to know each other and to explore where your story may lead.

Week Two: Other Mothers

We will share essays and articles with each other in this genre that we have discovered on our own and discuss what works and maybe what doesn’t.

We continue with Jot Down Time and a free write prompt.

We will start to pin down what you will write for an essay.  What is your story?

Week Three: Because I Said So… :-)

Continuing with reading and discussing published pieces and jot down time and writing prompts, we will review the first draft of your essay.  Writing is rewriting.  What does rewriting look like?  It looks different to most people, and we will explore applying notes and edits and sitting with your work this week.  Rewriting could be a walk in the park while your child naps in the stroller or it could be the quiet in the middle of the night, which as mothers we see a lot of.

Week Four: Separation Anxiety

Motherhood can be very isolating but when you find a community of other mothers, it can provide great comfort in a trying time.  We will present our final pieces and provide notes for each other as we continue to explore and share momoir and our own writing routines.

For those who want to explore publishing in this field we will also discuss the many avenues of parenting websites and magazines.

ABOUT RACHEL SCHINDERMAN

Rachel Zients Schinderman is a writer, teacher, and mother living in Los Angeles. As a teacher, she is the creator of the writing groups for moms, Mommie Brain  (www.mommiebrain.com), which was featured in Daily Candy.  As a writer she has had her work appear in the Los Angeles Jewish Journal, The Nervous Breakdown, The Manifest Station, The LA Times Magazine to name a few and had an ongoing column about parenting in The Santa Monica Daily Press also called Mommie Brain. As a mom she has two sons, ages 7 and 11. Learn more at rachelschinderman.journoportfolio.com or www.mommiebrain.com to read some of her work. She is also a regular performer in the hit show Expressing Motherhood and has placed twice in LA Parent's Moms Who Write Contest.  She has a Masters in Professional Writing from The University of Southern California and a Teaching Certificate from Antioch University, but more than all of that, she is excited by other people's stories and helping them discover them.  

Interested in this course? Let us know.

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The Phases of Military Deployment and the Poetry Within with John Holt
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Ever since the revolution of our Republic there have always been poets within the ranks of the military and family members supporting them telling our nation’s story. Soldiers, sailors, Marines, airman, and family members have written poems that capture the various deployment phase experiences that were at the center of the American nature of war. All these poems have historical value as lasting testimony of the men and women who experienced it directly and are poems that every American needs to read in order to better understand what it means to deploy.

This course is designed to provide an introduction to the Armed Forces, American involvement in War since World War II, the four phases of deployment and the war poem for students who may not have had the opportunity for a meaningful exploration.  

4-WEEK CLASS

Class Objectives:

In discussing the four phases of deployment we will be reading numerous poems to better understand what it means to deploy. At the conclusion of the course, students will demonstrate the ability to:

Recognize poets who served in the U.S. Armed Forces.

Identify the various war poems from World War II to Present.

Understand the four phases of deployment and examine the elements of imagery in war poems and identify the phase a poem best represents.

Connect learning to lived experience and real-life current news (veteran or military related); by writing a poem.

Course Offerings:

Week One: Military Service: The What, When, and Who

You’ll be given an overview of the branches of the Armed Forces, the American Involvement in War from World War II to Present day, and poets who served during each.

Afterwards, you will be asked to go into the world and look for these poets and poems. Choose three poems that resonated with you and tell why you choose the poet and poem, tell what happened in the poem, tell when and where the poem took place, and tell how you felt after reading it.

Week Two: Phases of Military Deployment

You’ll be given an overview of the phases of military deployment. We will discuss timeframes, what service members go through and the emotions that might arise from both the service member and family member.

You’ll become acquainted with The Awareness and Reflection of War Experience (ARWE) Model that was developed to assist readers of war poems decide which phase the poem best represents.

Afterwards, you will take the entire sample of poems posted by your classmates and using the ARWE model try to match the poems to the phase they best represents. Then you will pick four poems (one from each phase) and write one paragraph telling why you placed it in that phase.

Week Three: Imagery in War Poetry (World War II to Present Day)

You’ll be given an overview of how with the advent of technological advances in air travel and means to save lives in war, the images of war found in poems can linger much longer and can be tied to emotions that carry across several generations. You will become acquainted with the five senses and will be asked to look for and in one paragraph describe them from a sampling of poems.

Week Four: Write your own poem about War

You will be asked to take a poem that you wrote your paragraphs about, the imagery found in poems we have discussed, and our other class discussions and use them as a references to write your own poem about war.

 

ABOUT JOHN HOLT

John Holt is an author and poet. He is a 23 year veteran of the U.S. Air Force and a former Associate Professor at Loyola Marymount University. He has served in multiple locations in the United States and overseas in the Pacific Region. He deployed to the Middle East from 2009 to 2010. After retiring from active duty, he moved to Los Angeles and began working with other veterans in creative writing fellowships with the University of Southern California Warrior Chorus and the Writers Guild Foundation Veterans Writing Project. Holt's writing has appeared in a short film and in the following publications: Sketchbook: A Journal for Eastern & Western Short Forms, Asahi Haikust Network, Stylus Poetry Journal, Autumn Leaves Journal, 3Lights Gallery, The Mainichi Daily News, White Lotus: A Journal of Short Asian Verse & Haiga, The Heron’s Nest, PEN HIMALAYA Literary Magazine, Magnapoets, Frogpond, The Mie Times, JAL Foundation, Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry, Sugar Mule Literary Magazine, Icebox and Acorn: A Journal of Contemporary Haiku. John is a graduate of both Park and Webster Universities and is expected to graduate with a MFA in Creative Writing from Antioch University in December 2017.

Interested in this course? Let us know.

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Spanner, Slammer, Socket: Building a Poet’s Toolbox with Xochitl-Julisa Bermejo
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In this four-week course, those new to poetry will be introduced to essential craft tools and be given plenty of exercises for building new work with added guidance for tightening what materializes on the page. We will be paying special attention to figurative language, imagery, sound, line and word choice, as the building blocks to creating fresh and compelling poetry.

Are you unsure how to create a metaphor? Are the differences between assonance, consonance and alliteration unclear? No worries! In this class you will learn core poetry terms and have time to practice wielding each one. And through practice you will begin to discover which tools best serve your individual style and voice.

This course is designed for novice poets looking to build a base for their work and for prose writers looking to incorporate poetry elements into their work.

4-WEEK WRITING CLASS

LEARNING OBJECTIVES:

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

Identify poetry terms with attention to figurative language, sound, imagery, and line

Practice learned poetry elements by writing new work each week

Share work with peers for feedback, while providing feedback to others

Revise a poem created within the class to further understand how to craft a poem

WHAT THIS CLASS WILL OFFER:

In Week 1 we will learn to identify and practice figurative language

In Week 2 we will learn to identify and practice imagery

In Week 3 we will learn to identify and practice sound

In Week 4 we will tighten our poems through revision paying attention to line and word choice

LEARNING ACTIVITIES:

Read Poetry:Each week students will read contemporary poems for examples of mastery of particular tools and discuss the reading with peers in an online forum

Writing exercises: Students will use weekly readings as jumping off points for writing exercises and experimentations

Workshop: Students will post their poems in the online forum for peer feedback and give feedback on other’s work.

Revision: Students will be encouraged to process peer and professor feedback in order to use the most helpful notes to craft one final, polished piece of poetry.

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.  

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SUBMIT! How to get your work out there with Kate Maruyama
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Every time we run this class, students get published!

You can write and write and get better, but unless you submit your work widely, it might never meet its readers. Submitting your work takes courage, persistence and knowhow. So many people give up after one or two rejections. Learn how to effectively submit your fiction, non-fiction, poetry and articles to literary journals, online journals and other publications.

2-Week Class

CLASS DESCRIPTION

In a two week intensive course, I’ll walk you through the submission process for fiction, non-fiction and poetry, from scouting websites and journals to how to get over yourself, move past the rejection process and use submission for what it is: just another everyday part of the business.

CLASS OBJECTIVES

*Learn the ins and outs of literary journals, what they look for and how they work

*Create your own list of journals or publications open to your kind of work

*Submit a piece (or several pieces) of your work at least five places

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

WHAT THIS CLASS WILL OFFER

Week One: The Lay of the Land

We’ll discuss what’s out there publication-wise: the ins and outs of various types of journals and various types of submissions and we’ll create a plan for what you want from your work as you send it out in the world.

You’ll become acquainted with Duotrope, which will help you navigate the world of literary journals and will help you in your submission plan. (note this service costs $5.00 to be paid to DuoTrope) You will also learn how to keep track of where you submit your work and how to gauge editors’ responses.

Week Two: Submit!

I’ll walk you through query letters, submission letters, how to approach editors and how to see the positive in rejections. You’ll submit at least five places and finish class armed with the tools and knowledge to keep getting your work out there as you forge forward in your writing career.

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.

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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What the House Has to Say: Memoir as Poetry with Michael Passafiume
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What the House has to Say: Memoir as Poetry

Now you hear what the house has to say.
Pipes clanking, water running in the dark,
the mortgaged walls shifting in discomfort...”

– from “Insomnia” by Dana Gioia

Each of us has a story to tell, a poem waiting to be written. Perhaps, like me, you survived a traumatic childhood; perhaps you survived one that was idyllic. Maybe yesterday brought you an unexpected moment of self-discovery on your way to the grocery store; maybe it was the same mind-numbing trip you’ve made countless times before to the same store whose aisles you could navigate blindfolded. And, even if it was the latter, I’m willing to bet something happened – perhaps not externally but internally. Think back...what was it? The point is: we are all walking autobiographies, and every moment of every day adds to our histories.

4-Week Class

CLASS OBJECTIVES

The primary goal of this course will be to compose poems based on childhood and adult memories and experiences. Along the way, we’ll discuss assigned readings, analyze various techniques and approaches to autobiography/memoir in contemporary poetry, and take a closer look at the usage of “me, myself and I” in the work of select authors of poetry and creative nonfiction (e.g. memoirists). Students will complete weekly exercises based on different poetic forms, such as the prose poem, the epistle poem and the dramatic monologue poem.

WHAT THIS CLASS WILL OFFER

Week 1: Just What is an Autobiographical Poem Anyway?

Let’s find out! We’ll read several examples of autobiographic poems, as well as an essay on confessional/autobiographical poetry. Students will write their first poem and post it for peer and instructor feedback.

Week 2: Letting the Cat Out of the Bag

Writers have enough on their collective plates – from making the time to write to quieting those pesky inner critics. If we start worrying about who’s going to read what we’ve written and, by extension, who might be offended by it...well, we’d never get any writing done. Students will write a second poem and post it for peer and instructor feedback.

Week 3: Let’s Have Some Fun…with the Dramatic Monologue

One of the keys to writing a good dramatic monologue (or comedic, for that matter) is nailing down a speaker’s voice: we’ll focus on unearthing one of those voices this week. Students will write a third poem and post it for peer and instructor feedback.

Week 4: This Really Happened to Me (On Second Thought, Maybe it Didn’t)

Just because this is a class about autobiographic poetry doesn’t mean we’re writing exclusively about ourselves or that everything we’re writing is “true.” Students will use the epistle (e.g. “letter”) form to write their final poem and post it for peer and instructor feedback.

Strongly Recommended Text:

The Poet’s Companion– Kim Addonizio and Dorianne Laux: This book is an excellent resource for poets and includes essays on craft, as well as numerous writing prompts and exercises (a few of which we’ll be utilizing in class).

Recommended Texts:

Although not required reading, the books below are great starting points, chockfull of rich storytelling and lean heavily toward autobiography (in fact, the book by Nick Flynn is a memoir).

Lucifer at the Starlite– Kim Addonizio

The Trouble with Poetry and Other Poems– Billy Collins

Birth Marks– Jim Daniels

All-American Poem– Matthew Dickman

Another Bullshit Night in Suck City– Nick Flynn
What the Living Do – Marie Howe

What Work Is– Philip Levine

ABOUT MICHAEL PASSAFIUME:

photo credit: Rachael Warecki, CameraRAW Photography

Michael Passafiume is a Brooklyn, NY-based writer whose work has appeared in Black Heart MagazineDrunk MonkeysMadHat LitMeat for Tea and The Subterranean Quarterly, among others. His chapbook, archipelagos, was published by Blue Hour Press in 2015. A graduate of Antioch University Los Angeles’ MFA in Creative Writing program, he also holds a BA in English and an MA in Theater from Binghamton University. Michael is currently at work on his first novel, All the Wrong Choices for All the Right Reasons.

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