Courses: Fall 2019

All CWL courses 4 credits unless noted otherwise. FLM courses 2-3 credits.

GRADUATE COURSES IN SOUTHAMPTON

Stony Brook Southampton: Chancellors Hall or Carriage House (Technology Center)

CWL 520.S01 Forms of Poetry: Prose Poem, Short‐Short, or “Couldn’t Finish,” AmyHempel
Mondays 2:20 – 5:10 pm (Class #93164)
In this course we will read and discuss short-short stories and prose poems from several countries and centuries, drawing mostly from contemporary examples. Students will write frequently in one or both forms, after we look at the specific requirements of each, a variety of definitions, and differences, and similarities. As one practitioner noted, “The short-short is like a regular story, only more so.”

CWL 510.S01 Forms of Fiction: Beginning the Novel, Paul Harding
Mondays, 5:20 – 8:10 pm (Class #93163)
The beginning may prove the beginning, middle, end; don’t worry; it’s about scale, pace, interrogation, and scene; much of the semester will be devoted to slowing down, settling in, and playing your long game, discovering the cumulative ways that novels earn, form, solidify, maintain, and release meaning, within the realms of total aesthetic freedom and discipline. That balance between: Do whatever you want, while I hold your toes ever so encouragingly to the fire thing.

CWL 535.S01 Writing in Multiple Genres: The Story You Are, Roger Rosenblatt
Tuesdays, 2:20 – 5:10 pm (Class #93243)
Every good writer finds a story or theme that defines the writer’s work, then returns to it again and again. Believe it or not, you can find Portrait of the Artist in Finnegan’s Wake, if you’re willing to devote a year or two to the hunt. In a way, the pursuit of that one story is the pursuit of a life. And no matter how many times or complicated ways you digress from your story, you always return to it because that story also shows your particular strength as a writer. And by writing it, you are playing to your strength.

This course attempts to help you discover and recognize the story you are—to establish it, refine it, and to make that story clear to you, so that when you write it again and again you know what you’re doing, as you become expert in yourself. You’ll write a number of pieces and exercises in different genres. You’ll do reading relevant to the subject. Mainly, you’ll search and forage for the artist you’ll be for the rest of your life. Warning label: You may not find it. . .yet.

CWL 540.S01  (#93166) The Ways of the Essay: Finding & Transforming Your Personal Material, Hugh Ryan 
Thursdays 5:20 - 8:10 pm 
No kind of creative nonfiction is as versatile in form or content as the essay, where the narrative “I” can tackle any topic the author’s eye alights on. This versatility, however, is undergirded by a silent promise, guaranteeing our readers that we have some measure of topical authority – a foundation from which to launch our flights of insight. However, “write what you know” shouldn’t be a limitation on the essayist, rather, it should be an injunction for us to learn more. 

In this workshop, we will examine a range of essay forms (personal, braided, and lyric) to see what fits your style and material best. We will explore different research techniques and how to incorporate them into a finished piece – without boring our audience to tears. Our reading will be a mixture of essays and craft-focused works, which may or may not include Namwali Serpell, Jo Ann Beard, Roxane Gay, Darnell Moore, Susan Sontag, Jonathan Lethem, Italo Calvino, Annie Dillard, Joan Didion, Alexander Chee, Natalie Angiers, Ben Ehrenreich, Amy Sohn, Hilton Als, Brandon Taylor, Claudia Rankine, David Sedaris, Geoff Dyer, Meredith Talusan, Brian Blanchfield, and more.

CWL 580.S01 Practicum in Arts Administration, Christian McLean
Wednesdays, 11 am – 12:30 pm (Class #93165, 1‐4 cr.)
This course teaches important skills in arts/event management. It provides education in marketing, design and software that will boost your résumé and increase your workplace skill set. We’ll examine work/volunteer opportunities in local arts organizations and you will design an MFA event from the ground up. Learn the basics in Photoshop, Mailmerge, Google Docs/Sheets, Constant Contact, plus Facebook and Twitter ads. Completion of at least 6 program credits or permission of instructor required.

CWL 560.S01 Topics in Literature: Anatomy of the Thriller, Susan Scarf Merrell
Wednesdays, 2:20 – 5:10 pm (Class #93170)
What makes a thriller thrill us, and how can we use that organizational knowledge in the construction of our own fiction, thriller or not? In this course, we will focus on methods for building tension and holding the reader’s interest. Our reading load, which will be heavy, will include writers from around the world: Fyodor Dostoevsky, Richard Condon, Patricia Highsmith, Bram Stoker, William Golding, Octavia Butler, John Lanchester, Ryu Murikami, Suki Kim, Shirley Jackson, Gillian Flynn and Oyinkan Braithwaite. Students will also produce their own thriller fiction, although we will not be workshopping in class. If possible, students should read half of Crime and Punishment before class one.

CWL 500.S01 Introduction to Graduate Writing, Carla Caglioti, Robert Reeves & Lou Ann Walker
Wednesdays, 5:10 – 8:20 pm (Class #95628)
A seminar that introduces students to one another, the faculty, the program in Creative Writing and Literature, and to issues in contemporary writing. Offered in conjunction with the “Writers Speak” lecture series. Students will attend the regular series of readings sponsored by the Writing program and meet at weekly intervals under the direction of a faculty advisor to discuss and write about topics raised in the lecture series, as well as issues generated from seminar discussions and assigned readings. Please note: CWL 500 is a required course. Recommended to be taken in the first year.

CWL TBD, Creative Nonfiction, Instructor and Topic TBA
Thursdays, 5:20 – 8:10 (Class #93166)
Come work with our newest faculty member. Identity to be revealed early this summer.

GRADUATE COURSES IN MANHATTAN

Stony Brook Manhattan Center for Creative Writing and Film, 535 8th Avenue between 36 & 37th Streets, 5th floor

Including Manhattan Film Courses Open to CWL Students—See Below

Please submit a course substitution form for FLM courses in order that they can be credited toward fulfilling CWL requirements. FLM courses are 2‐3 credits, so additional course, practicum, or independent study may be necessary to complete the degree credit requirements.

CWL 580.S60 Arts Administration Practicum, Carla Caglioti
Hours arranged. Hybrid course (in‐person, Skype, email) (1 credit) (Class #93171)
In this practicum we will look at the opportunities and obstacles in building sustainable arts programming in Manhattan. The class will be given a budget from which to research, develop, schedule, and market a literary event with the goal of building community and establishing traditions for Manhattan. This practicum will introduce participants to the “business of the arts,” providing an overview of the types of work that arts administrators do and the current issues and trends arts management professionals face. By the end of the course, students will have developed an understanding of the critical areas that arts administrators must manage, including budgeting, marketing/publicity, fundraising, audience development, surveying and analysis, scheduling, and contracts. Permission of instructor and completion of at least 6 program credits required.

CWL 510.S60 Forms of Fiction: The Short Story, Susan Minot
Mondays, 5:20 – 8:10 pm (Class #93173)
As our 2013 Nobel Laureate Alice Munro recently said, the short story is “an important art, not just something you played around with until you got a novel.” Focus in this workshop will be on the building blocks of the short story: style, structure and content. In class discussions of student fiction, we will focus on refinement of that style, on varieties of structure, with an eye to finding the subject best suited to each writer. Strong editorial feedback will assist the students in both practicing editing on their fellow students, as well as learning the value of doing draft after draft in order to strengthen and focus the material of his or her concern. Mastery of one’s craft is our goal.

Suggested outside reading will direct students to the masters: Anton Chekhov, Raymond Carver, Lydia Davis, John Cheever, Amy Hempel, Denis Johnson, J.D. Salinger, and Katherine Mansfield, among others. But mostly the concentration will be on student work.

CWL 582.S60 Practicum in Publishing & Editing, Faculty Editors & Emily Gilbert
Tuesdays, 2:20 – 5:10 pm (Class #93163, 1‐ 4 cr.)
Under the guidance of editors and advisors, students will be exposed to the hands-on process of editing and publishing TSR: The Southampton Review.

CWL 565.S61 Special Topics in Writing: Humor on the Page, Patty Marx.
Tuesdays, 5:20‐8:10 pm (Class #95630)
“Humor is emotional chaos remembered in tranquility.” James Thurber
“Comedy has to be based on truth. You take the truth and you put a little curlicue at the end.” Sid Caesar
“Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.” Mel Brooks
“An amateur thinks it’s really funny if you dress a man up as an old lady, put him in a wheelchair, and give the wheelchair a push that sends it spinning down a slope towards a stone wall. For a pro, it's got to be a real old lady.” Groucho Marx
“What is comedy? Comedy is the art of making people laugh without making them puke.” Steve Martin
“You know, crankiness is the essence of all comedy.” Jerry Seinfeld
“Analyzing humor is like dissecting a frog. Few people are interested and the frog dies of it.” E.B. White
“Patty Marx is the best teacher in the Creative Writing Program” Patricia Marx

One of the above quotations is false. Find out which one in this humor-writing workshop, where you will read, listen to, and watch comedic samples from well-known and lesserknown humorists, and complete weekly writing assignments. Students already working on projects are welcome to develop them.

CWL 565.S60 Topics in Literature: The Memoir—What’s Hot, Hot, Hot. . .And What’sNot, Lou Ann Walker
7 Saturdays: 9/7, 9/14, 10/5, 10/26, 11/2, 11/16, 12/7
10:00 – 5:00 pm (Class #95631)
The memoir form has undergone dramatic changes over the last few years. We’ll investigate what the newest approaches are, how they’re breaking barriers, including delving into hybrid and graphic forms. We’ll be discussing structure, style, and substance as students attack their own stories from a number of different points of entry. We’ll workshopping throughout the semester. Alexander Chee’s How to Write an Autobiographical Novel will be one of our touchstones.

CWL 520.S60 Forms of Poetry: Ekphrastics, Star Black
8 Saturdays: 8/31, 9/21, 9/28, 10/12, 10/19, 11/9, 11/23, 11/30
11:00 – 5:00 pm (Class #95629)
New York City has long been a global center for the visual arts, as well as for artists and writers. In this course, which meets on 7 Saturdays at Stony Brook Manhattan, we will visit The Metropolitan Museum of Art, as well as one or two other distinguished museums, such as The Rubin Museum of Tibetan Art, the FIT Fashion Museum, and The Morgan Library. At
every museum visited, each student will write three “ekphrastic” pieces—creative writing in the form of poems, prose poems, or flash fiction or dialogue that are inspired by a work of art. Students select three works of art that intrigue them, document each one with a cell phone photo, and then write on location while viewing the works of art they have selected.

In-class and take-home weekly writing assignments will also be given. The final paper will be an illustrated sequence of each student’s writing during the course. Students will meet at Stony Brook Manhattan or Stony Brook Southampton to share their writing at 11 am, followed by lunch at 1:20 pm, and a museum visit until 5 p.m. Please note: Students should
bring student IDs and be prepared, at some museums to pay (discounted) admission fees.

FLM 536.S60 (#95525) Topics in TV Writing, Scott Burkhardt
Mondays, 5:20 ‐ 8:10 pm, 3 cr.
Students learn how to write a spec script or pilot. A “spec” is a script for a TV show that is currently on the air where the writer creates original stories for a show’s existing characters. Students will learn how to brainstorm story ideas, structure an outline and write scenes with dialogue, all in a constructive, supportive workshop atmosphere. The class covers both half-hour comedies and one-hour dramas. In addition, the class will watch, deconstruct and discuss a wide variety of TV shows in order to better understand how a successful episode is built. All the basics of TV writing are covered and the workshop is designed to closely mirror a professional writers room on a prime-time series.

FLM 525.S65 (#93248) Topics in Film: TV Guest Series, Alan Kingsberg
Mondays, 7:30 ‐ 9:30 pm, 1 cr.
A moderated guest series featuring in-depth discussions with TV writers and producers about their scripts, series and careers. Meets six times during the Fall semester.

FLM 500.S60 (#95520) Master Class in Independent Film Production, Christine
Vachon, Pamela Koffler, and Simone Pero
Tuesdays 5:20 ‐ 8:10 pm, 4 cr.
Master Classes focus on filmmaking as an art form and an industry. Creative and business sectors are at an intersection of unlimited potential, and students will learn how to tap into and exploit the shifting paradigms of filmmaking – or content-making -- as practiced today. Students study the craft of script development, directing, and producing, and learn the
realities of the independent film business from top industry professionals, including producers, casting agents, cinematographers, designers, actors, distributors, and lawyers, as well as distinguished filmmakers. This class is a core requirement for the MFA in Film.

FLM 505.S60 (#95533) Film Management I: DOGME, Lenny Crooks
Tuesdays, 8:20 ‐ 11:10 pm, 3 cr.
With the guidance of Lenny Crooks, Magdalene Brandeis, and Jennie Allen, writer/directors will follow in the tradition of the Stony Brook/Killer 20/20/20 boot camp and borrow from the Dogme manifesto drawn up by Danish filmmakers Lars Von Trier and Thomas Vinterberg. This course offers a unique writing/directing/learning opportunity. Working from pre-existing characters -- either a main character or a subsidiary character from a short film you have written or made - and inclusive of your classmates' characters, the group collaborates to create a digital series, filmed in December. Episodes add up to a cohesive series. This course will give participants writers’ room experience, show-runner experience, and prepare feature film directors for trans-media promotions, etc.

FLM 550.S60 (#95527) Teaching Practicum, Karen Offitzer
Thursdays, 5:20 – 8:10 pm, 3 cr.
This is a weekly seminar in teaching at the University level, with special emphasis on teaching in the creative arts, specifically creative writing, TV writing, and filmmaking. This course plunges into the basics of pedagogy, exploring learning styles, discovering a teaching philosophy, designing syllabi for undergraduate courses, creating assignments and rubrics, exploring classroom strategies, and practicing these skills in a classroom setting. You’ll get hands-on experience and mentoring through visits to undergraduate classes and teaching opportunities, and will gain an understanding of what works best for helping undergraduate students learn. Particular focus will be on discussing issues that arise when teaching creative endeavors such as writing and filmmaking. Please note that additional class time will be arranged with instructor.

FLM 651.S61 (#95531) Screenwriting II, Lenny Crooks
Wednesdays, 5:20 ‐ 8:10 pm, 3 cr.
This course will build on introductory screenwriting skills and elements. It will offer a more intensive study of the screenwriting craft, especially character, scene construction, scene sequence/juxtaposition, and dialogue. Rigorous class sessions will consist of group readings and open critiques. The objective of this course will be to structure and write or rewrite a full-length feature screenplay. Intermediate to Advanced Screenwriters. Prerequisite: Screenwriting I, the first act of a screenplay, or instructor’s permission.

Thesis—CWL 599 (1-6 credits)
Manhattan and Southampton
Requirement: You must have your thesis planning form on file and approval of thesis advisor to register. Schedule based in Southampton.
Thesis sections:
.V01 #88199 Merrell
.V02 #88200 Rosenblatt
.V03 #88201 Sheehan
.V04 #88202 Jones
.V05 #88203 Caglioti
.V06 #88204 Handley Chandler
.V07 #88205 Hegi
.V08 #88206 Harding
.V09 #88207 Reeves
.V10 #88208 Bank
.V11 #88209 Brandeis
.V12 #88210 Walker—Pre‐thesis Planning, 1 cr.
.V13 #88211 Hempel
.V14 #88212 Marx
.V15 #88619 Eady
.V16 #88620 Minot
.V17 #88697 Black
.V18 #95632 Walker

Spring 2020—Tentative Offerings

GRADUATE COURSES IN SOUTHAMPTON

CWL 510.S01 Forms of Fiction: The Short Story, Ursula Hegi
Days and times TBD

CWL 520.S01 Forms of Poetry: Power of Poetry, Julie Sheehan
Days and times TBD

CWL 530.S01 #tk Screenwriting I: Find Your Story, Write Your Screenplay, Annette Handley Chandler
Days and times TBD
All great screenplays share a captivating, well-told story. This workshop will introduce students to the craft of screenwriting through an examination of what makes a story compelling. Students will learn screenplay fundamentals: theme, character development, character arc, structure, building conflict, scene development, scene sequence, scene
juxtaposition, and dialogue.

Students will also learn how to deconstruct and analyze screenplays by reading award winning screenplays and screening selected films. All participants will be guided through the process of developing their own screenplay ideas in a  constructive environment. Each student will leave with a three-act story breakdown and a completed Act One of a viable
script. Beginning and Intermediate Screenwriters.

CWL 550.S01 Forms of Professional Writing‐‐or CWL 565 Special Topics in Writing: Writing to Sell It (If You Can), Neal Gabler
A workshop from a seasoned pro in writing anything that pays—reviews and film criticism, political essays and cultural commentary, books and blogging, with regular practice and a lot of reading in the mix. Students will learn just about everything that a working writer needs to know—from finding an agent to coming up with ideas to pitching those ideas to
editors to setting a price with editors to selling yourself. In other words, soup to nuts.

CWL 565.S01 Special Topics in Writing: The Dystopian Novel, Kaylie Jones

CWL 570.S01 Forms of Fiction: The Long Arc, Susan Scarf Merrell
This class will look at your book-in-progress from beginning to end. A group of writers, each of whom is already embarked on a longer work, will come together as a team of crack investigators to examine structure, arc and character, with an eye to creating whole and cohesive literary works. Full first draft preferred but open to anyone with 100 pages and a view of the entire scope of the work.

CWL 565.S01 #tk Topics in Literature: The Bible, Paul Harding

CWL 580.V01 Practicum in Arts Administration, Christian McLean
While you’re sending agent queries, you’ll have to eat. This course teaches important skills in arts event management. It provides knowledge in marketing, design, and software that will boost your résumé and increase your workplace skill set. We’ll examine work and volunteer opportunities in local arts organizations, and students will design an MFA event from the ground up.

CWL 581.S01 Practicum in Teaching Writing, Lou Ann Walker
Tuesdays, 10:30 – 1:20 pm, CH202 and on MAIN CAMPUS (Student Observations, beginning in October), 3 cr. #tk
Offered in combination with main campus undergraduate sections, including the BFA major and the minor in Creative Writing, this course provides hands-on experience and instruction in the basics of writing pedagogy, including designing writing assignments, sequencing assignments, motivating writing, writing skill development, and evaluation of writing. Students will also be given a preliminary overview of the major theories driving composition pedagogy.

GRADUATE COURSES IN MANHATTAN

CWL 500.S60 Introduction to Graduate Writing, Carla Caglioti & Roger Reeves
Mondays, 5:10 – 8:20 pm (#tk)
A seminar that introduces students to one another, the faculty, the program in Creative Writing and Literature, and to issues in contemporary writing. Offered in conjunction with the “Writers Speak” lecture series. Students will attend the regular series of readings sponsored by the Writing program and meet at wekly intervals under the direction of a faculty advisor to discuss and write about topics raised in the lecture series, as well as issues generated from seminar discussions and assigned readings. Please note: CWL 500 is a required course. Recommended to be taken in the first year.

CWL 520. S01 #tk Forms of Poetry: Poetry, Cornelius Eady
Poets write, Poets read. These two statements will be the emphasis of this advanced poetry workshop. You will be doing three things here: 1) Writing and revising your own work (including exercises), 2) Doing close reading of the books  assigned (including a reading list that will be generated by the workshop) 3) Interviewing visiting poets about craft, either
via Skype or in person. The final in this workshop will be a chapbook of 10 – 20 of your best poems written and revised over the semester, due the last day of class. A secondary possibility with your chapbook might explore the various ways poetry can be performed.

CWL 582.S60 Practicum in Publishing & Editing, Faculty Editors & Emily Gilbert
Tuesdays, 2:20 – 5:10 pm (1‐ 4 cr.)
Under the guidance of editors and advisors, students will be exposed to the hands-on process of editing and publishing TSR: The Southampton Review.

FLM 550 Teaching Practicum, Karen Offitzer
Thursdays, 5:20 – 8:10 pm, 3 cr.
This is a weekly seminar in teaching at the University level, with special emphasis on teaching in the creative arts, specifically creative writing, TV writing, and filmmaking. This course plunges into the basics of pedagogy, exploring learning styles, discovering a teaching philosophy, designing syllabi for undergraduate courses, creating assignments and rubrics, exploring classroom strategies, and practicing these skills in a classroom setting. You’ll get hands-on experience and mentoring through visits to undergraduate classes and teaching opportunities, and will gain an understanding of what works best for helping undergraduate students learn. Particular focus will be on discussing issues that arise when teaching creative endeavors such as writing and filmmaking. Please note that additional class time will be arranged with instructor.

CWL 540.S60 Creative Nonfiction, Matthew Klam
3 Weekends, Saturdays and Sundays, 10 am – 5 pm, dates TBA.
Most writers need multiple drafts, and when the work succeeds, it does so because the author is entangled, involved, a little obsessed. Great creative nonfiction uses all sorts of techniques and tools, uses the intimacy and intensity of great memoir, the confessional power of a first-person essay, the disruptive surprise of humor. It uses lists, and stretches of pure dialogue, and plenty of straight up reportage and hard-won observation. The best writing can and should come right at us, should defy our expectations. Creative nonfiction can be structured in a classical or experimental way, or a mix of approaches to fit the subject.

We’ll look at examples of the form by Alexandra Fuller, Jon Krakauer, Mary Karr, Mary Gaitskill, Rachel Kaadzi Ghanash, John Jeremiah Sullivan, Katherine Boo, and many others. We’ll examine their structure in the way a carpenter might study a beautiful house. We’ll look at half page essays and eyewitness accounts, masterworks of longform journalism, essays, chapters of books, comics by Allison Bechdel and Adrian Tomine, sections of plays, and whatever else inspires us. How is it that some writers are able to create real character development and tension in a few lines or pages? We’ll talk about that too. In this class we’ll write, read, and discuss, while also workshopping your pieces-in-progress in a helpful, constructive manner.

CWL 535.S60 Writing in Multiple Genres: Writing Everything, Roger Rosenblatt
7 Saturdays, 11:00 – 5:00 (Class #tk)
This course is a workshop in the writing of a personal essay, a short story, a one-act play, and a poem. Students will produce one of each genre, study the connections among them, and learn how the elements of each may be useful to the others.w of pedagogy on your way to devising your own. Most importantly, you’ll ask and ask again, “What is teachable about filmmaking, and who am I to teach it?” At least 6 program credits or permission of the instructor required. Please note that additional class time will be arranged with instructor.

FLM 510.S60 Film History I: European Auteurs Film Survey, Lenny Crooks (3 cr)
Tuesdays, 8:20-11:10 pm(Class #96495)
There is an identifiable European way of filmmaking. It has nothing to do with style or genre (although Action films are few and far between). Rather it is about process and priority. Regarding process, there are so many sources of public funding for development that for most distributed films have the writer will have been paid for several drafts. As regards  priorities, the director is considered the most important element in a film's creation. So much so that many films are financed on artistic merit without undue consideration of the box office potential of lead cast members. Regardless of who has written the script, a director who has achieved distinction is considered the author or 'Auteur'. At two-week intervals we will screen and discuss a film followed by an analysis of the director's body of work.

FLM 650.S60 Screenwriting – Jennie Allen (3 cr)
8 Saturdays, TBD (Class #96496)
In this course you will develop a feature length screenplay idea. By the end of the class you will have written a prose treatment of the story from start to finish, as well as the first 30 pages. We will work on two levels: screenings, screenplay readings, and analysis of feature film structure alongside writing exercises and assignments to help you develop your idea into a compelling story.

FLM 651.S01 Advanced Screenwriting – Refine your Story, Complete Your Draft: Screenwriting II, Annette Handley Chandler (3 cr)
8 Saturdays 11-5 PM, 4 in Manhattan, 4 in Southampton (Class #96497)
This course will build on introductory screenwriting skills and elements. It will offer a more intensive study of the screenwriting craft especially character, scene construction, scene sequence/juxtaposition and dialogue. Viewing  film/film clips as well as analyzing and deconstructing more complex screenplays will be required. Rigorous class sessions will consist of group readings and open critiques. The objective of this course will be to structure and write or rewrite a full-length feature screenplay. Intermediate to Advanced Screenwriters. Prerequisite Screenwriting I.

FLM 6510.S61 Screenwriting Workshop II: Dogme, Lenny Crooks (3 cr)
Wednesdays, 5:20-8:10 pm (Class #96605)
With the guidance of Lenny Crooks, Magdalene Brandeis, and Jennie Allen, writer/directors will follow in the tradition of the Stony Brook/Killer 20/20/20 boot camp and borrow from the Dogme manifesto drawn up by Danish filmmakers Lars Von Trier and Thomas Vinterberg. This course offers a unique writing/directing/learning opportunity. Working from pre-existing characters -- either a main character or a subsidiary character from a short film you have written or made - and inclusive of your classmates' characters, the group collaborates to create a digital series, filmed in December. Episodes add up to a cohesive series. This course will give participants writers’ room experience, show-runner experience, and prepare feature film directors for trans-media promotions, etc. Course Prerequisite: first year production.

FLM 525.S65 TV Topics in Film: TV Guest Series, Alan Kingsberg (2 cr)
Mondays, 7:30-9:30 pm (Class #96607)
A moderated guest series featuring in-depth discussions with TV writers and producers about their scripts, series and careers. Meets six times during the Fall semester.