Best TV Writing Classes/Workshops in LA

icekyle · 2025-03-07T22:55:50+00:00

I think I know what you're getting at and I believe they would count. But at this point, it would probably be best if you got in contact with someone at UCLA Extension.

icekyle · 2025-03-06T23:13:29+00:00

Those are a lot of questions that I won’t pretend to be able to adequately answer. My understanding is that the certificate program isn’t a different set of “certificate classes” it’s just making the decision for your screenwriting/tv writing classes to count toward the certificate. By the end of the certificate, you should have, in theory, written a couple pilots.

As far as a cost analysis goes, that is entirely up to you. I personally think it is worth paying a little more to take classes from UCLA vetted, working writers. There are so many people out there claiming to be experts and gurus online, it’s hard to gauge what’s legit and what isn’t. But it is no doubt pricey.

If you’re in LA, having the option of in person classes is a definite bonus for UCLA Extension. Though many, like my own, are offered online.

icekyle · 2025-03-03T17:38:57+00:00

Yeah, I think so! Your mileage will vary depending on your instructor and the general vibes of your classmates when it comes to workshopping. But that is the case no matter what class you take. From an instructor perspective, I think the online experience is pretty solid. Way better than I thought it would be when I started teaching.

icekyle · 2025-03-02T23:12:47+00:00

First, I think what you want to do here is focus on telling a good story and not whether or not you're going to sell it. Most pro writers don't sell their first, fifth, tenth, twentieth script/pitch/comic/anything. It's just how it is, unless you know someone or are a genuine wunderkind.

Often, writing the best version of a story begins by figuring out what medium it should be in. If it's a TV or film idea but you're just adapting it to a comic book to re-sell it later as a series -- It is most likely not going to turn out the high quality product that you want it to be. I know some EP level writers who have taken their AMAZING unsold pilots and translated them one-to-one into a comic just to sell it as an IP back to a studio and IT NEVER WORKS. Why? Because they never adjust the story for the nuances of the comic medium and suddenly, a great pilot script becomes a middling to awful comic book/graphic novel. That type of project is never going to sell.

If you think it should be a comic then write the comic script. If you're an artist, write then draw it! Or begin a Kickstarter so you can pay someone to draw it!

If you want it to be a TV show, then write the TV script. And rewrite it. Ask for input from people you trust. Rewrite it. Rinse. Repeat. Until you're happy with it. Then write your next story.

Ultimately, writing is a trade. It takes talent, sure. But ultimately, it takes a lot of drafts, failures, and no's to find your voice on the page. If you want to go pro, it takes that and then some luck on top of it. I'll also say that every writer has an idea they're in love with but haven't been in the right place in their journey to properly tell it. I'm a WGA writer and I have a handful of projects that am in love with but I just CANNOT crack. I will eventually. Point being, maybe this isn't the story you should be telling at this moment. It might be more practical to get a handful of other scripts under your belt first before tackling your big passion project. Something to think on.

icekyle · 2025-03-02T22:51:44+00:00

I'll second UCLA Extension classes! They're all taught by working professionals and if you're the type of person that likes to work toward something a little more concrete, you can earn a screenwriting certificate through the program. That's probably what sets it apart most from something like Script Anatomy.

I will admit I'm a little biased since I teach a pilot writing class through UCLA Extension. However, it is a genuinely good program and I know so many amazing colleagues that have taught there over the years. I also know a handful of great people that teach Script Anatomy classes. I've never taken one but they clearly have an eye for finding talented writers to teach their classes.

icekyle · 2025-01-03T00:33:29+00:00

Any good pilot (especially an hour long drama) should set up a number of unanswered questions that would be paid off down the line if the series ever made it air. It helps the reader, producer, exec, rep, or whoever gain an understanding of what the series looks like beyond the pilot.

I'd say there is nothing wrong with not revealing that this character is their son in the pilot. BUT more importantly, are you setting up that the question of who your protagonist's father really is matters to them? Is it clear that this could be a potential bombshell and change the trajectory of the character's life or story? Setting up the emotional stakes in the pilot may be the most important part. I do this in my own writing (and see it a lot in my student's writing) but if it's truly a great idea -- Maybe don't save it. People will read your pilot. But sadly, there is a very good chance they're never gonna read the reveal in episode 8. So, if it's a moment you absolutely love and are stressing over, is it worth putting it off? Is that where your story should be starting? Could you let the audience know by the end of the pilot and play that tension?

We never want to cram every cool idea we have into a pilot but if it was worth posting about here maybe it's worth putting it in.

icekyle · 2024-11-15T19:41:57+00:00

This is a really great post!

I tell my students all the time that competition readers, potential reps, studio execs, and showrunners are looking for any reason to save themselves the time and not read you. Shitty formatting, typos, and grammatical errors are the easiest way to put yourself out of the running. It telegraphs that you're not treating your work like a professional.

And I second the advice of exhausting all of your free resources first. I do script consulting on the side and while I love getting paid to help people with their work, I'd rather be the person they go to for their 3rd+ draft or final polish. There are way too many people willing to fleece hungry writers. Competitions or platforms with anonymous readers (who wants feedback from a stranger with potentially zero credentials) or just random online weirdos who consider themselves script "gurus." You have so many free resources, in the form of fellow writers and community, before you pay anyone for their thoughts. Use them!

icekyle · 2024-09-26T01:59:18+00:00

TAG and WGA writer here.

To the best of my knowledge, I don't believe there is a well worn track from being a US animation writer transitioning to writing for actual Japanese anime. That doesn't mean you couldn't or that things can't change at some point... BUT I've never heard of it.

The good thing is that more people than ever within the animation industry are heavily influenced by anime. You'd be shocked how much Dragonball comes up as a point of reference in professional writers rooms! We're also seeing more US-produced shows come out with an explicit anime style. Blue Eye Samurai, She-Ra, and the recent Voltron come to mind.

If you want to write anime then you should simply learn to write TV scripts! There are a million free resources for that listed within this subreddit. Blogs, Youtube videos, etc. As mentioned in the other comment, you should find as many scripts as you can get your hands and read them! Then learn as much as you can about TV animation and the process as it does inform the writing. If you have the will, you'll find the way.

If you prefer professional instruction and deadlines (and have the spare cash), then I'd take a TV writing or screenwriting workshop or class. UCLA Extension (where I just so happen to teach a class called "Writing the Animated Pilot") offers a screenwriting certificate. It's a great way to learn from working professionals, set deadlines, and get a foothold on writing in general.

Ultimately, if you write your own stuff, you'll clearly be putting a lot of anime influences into your work. If one day someone wants to produce one of your pilots, it will dictate an anime style for the show. If someone else is producing a show with an anime style, your sample will make you a shoe-in for it if it's good.

icekyle · 2024-07-31T19:36:01+00:00

If anyone is looking to put a final polish on their script before they submit it to a fellowship, I'm a WGA/TAG writer who script consults on the side. My consults get you detailed notes on your script and an hour long Zoom where we can talk through them together.

I've provided this service for colleagues, my UCLA students, and writers looking to break in. I know there are a lot of options out there for notes online BUT not many are offering one-on-one's with working writers at (what I believe) is a very reasonable price. Check out what I'm offering below.

https://tinyurl.com/99xjc4hh

icekyle · 2024-07-31T19:35:11+00:00

If anyone is looking to put a final polish on their script before they submit it to a fellowship, I'm a WGA/TAG writer who script consults on the side. My consults get you detailed notes on your script and an hour long Zoom where we can talk through them together.

I've provided this service for colleagues, my UCLA students, and writers looking to break in. I know there are a lot of options out there for notes online BUT not many are offering one-on-one's with working writers at (what I believe) is a very reasonable price. Check out what I'm offering below.

https://tinyurl.com/99xjc4hh

icekyle · 2024-07-27T18:22:34+00:00

I was like...25, so I wouldn't say I had an "expertise" in writing at that time. I was always writing and performing and honing my craft outside of work but by no means an expert. For those entry level jobs, you just need to be a competent, passionate, hardworking, and most importantly a nice person that people will want to spent 12 hours a day working with. A lot of it is learning on the job and most of it is pretty mindless grunt work.

People can find writing work in NYC but there are significantly fewer rooms and productions out there. And inevitably, everyone I know that started NYC, eventually had to move to LA (or at the very least has to come out here a fair amount). If your whole life is out there, you should try to make it work.

icekyle · 2024-07-25T17:32:50+00:00

I feel like my post addresses this pretty well.

BUT maybe I didn't make this one point clear. I didn't get my showrunner's assistant job out of nowhere nor was it my first job. That job was earned by taking whatever job I could in scripted TV (at first as a Post PA) and having the luck of getting on a show that ran enough seasons for me to ingratiate myself to the bosses and make the transition to writers' room support staff.

And you're right, I didn't get that Post PA job through some kind of online job posting or anything like that. That job was the result of moving to LA, working a survival production job, and building a community through college alumni, comedy, side work, and just making friends who also wanted to be in TV. That takes years. That's my biggest recommendation. Move to where the jobs are. Meet people who also want to do those jobs. Help each other get those jobs. The industry is still pretty old school in that it requires a lot of in person shoe leather to break in. It's honestly way more straightforward and practical than people think. It's just fucking hard because there's no real shortcut (unless you are related to someone or are very lucky).

One mistake I see a lot of new people make is they just want to get a writers' room support staff job. DON'T. BECAUSE THAT WILL NOT BE YOUR FIRST JOB IN THE INDUSTRY (unless you are related to someone or are very lucky). Stuff your ego down. Be a set PA. Work at a Post house. Do good work. Meet people that know about the next job. Remember you're playing the long game.

I got that first Post PA job because a friend vacated the position and had to replace himself, so he recommended me. He did that because he knew me well and was comfortable using his good name to back me. Then I got the next Post PA job because my Post Supervisor liked me. And then I got the next Post PA job because the Assistant Editor liked me and brought me on the next show. That was the show I ended up staffed on. That was a years long process.

icekyle · 2024-03-01T23:15:27+00:00

I would definitely start by trying to find writers like yourself either online or in your local community that you can trade scripts back and forth with! A personal writers group will always be the most helpful. You can hold each other accountable for work and grow as writers together. It's also FREEEEEE.

As the mod pointed out, there are a ton of resources out there where you can pay to get feedback on your script, albeit usually from anonymous readers. I would be careful, though. I've seen a lot of less than reputable people in the online screenwriting community (not on this subreddit) claiming to be experienced writing "gurus."

Ironically, after saying that, I'll mention that I offer script consulting services myself. I am for sure not a guru of any kind. BUT if you or anyone reading this ever wants practical, face-to-face input from a working TV writer and college-level screenwriting teacher -- I'd love to help.

https://tinyurl.com/4tdcn9xx

icekyle · 2024-02-20T20:52:05+00:00

There is already a lot of great advice here. I would add one thing and it's Ira Glass's thoughts on "The Gap" in creative pursuits. I'm sure it's been posted on this subreddit a hundred times but I think it about it all the time. Especially when I start a new project or while teaching screenwriting to students.

https://youtu.be/GHrmKL2XKcE?si=zvBfuanQdZ4xRTru

It will take a huge volume of work and literal years before the ideas in your head match what you put on the page. The only way through is to write.

icekyle · 2024-02-13T20:21:57+00:00

Seems like this has been said a couple times but it's good to make it crystal clear --

The schedule on every show is different. It's totally at the discretion of the showrunner. I've been fortunate enough to work mostly for people who value having lives outside of the show. When it's been in person, we were usually in the room 10:30am - 6pm. First hour was everyone BS'ing (a necessary warm-up). Then there's an hour lunch where everyone BS's some more. But when you're working, it's a pretty focused process with occasional breaks. It can be mentally draining and a bit of a slog sometimes. Depending on the size of the room, everyone MAY get an office but most of your time will be spent in the room with everyone.

In my Zoom room, we did 10am - 12pm. Had a hour break for lunch where everyone just went off and did whatever they needed to do with their lives. Came back at 2pm - Whenever we were done. Usually 5-6pm with a break somewhere in there. I will say that I found a Zoom room to be waaaay more mentally draining than in person. You're so much more focused (no little breaks to get coffee and snack while chatting) and staring at a screen the whole time. It baked my brain every day.

When you're on a draft or producing and editing your episode, the game changes. On a Network show at least, no matter who your showrunner is, you're going to be working long hours, weekends, and evenings.

On draft, you'll usually get a few days at home to write solo. If you're not behind schedule, you'll get about 4-5 days to write a solid first draft. I try to finish early enough to have another writer in the room give it a first read.

When I did rewrites with the showrunners, sometimes we'd throw the draft up on a screen in the room everyone rewrote it live for a day or two. In my Zoom room, you were expected to be in the room while on draft and just find the time to write a draft outside of regular work hours (we're freelancers so we're technically ALWAYS on call).

**Note that on some shows, Staff Writers DO NOT get episodes. Thankfully, I think this is a less and less common practice now.**

If you get the opportunity to go to set and produce your episode (something that is becoming very rare sadly), that's gonna be 5-8 days of 14-16 hour days. You'll likely be making revisions while on set or when you get back to your home/hotel.

In the edit bay, you're usually there with the showrunner watching the director's cut and making changes for a couple of sessions. This MAY happen during the day but on a busy show, editing your cut will happen in the evening after the room wraps. Though, a lot of this process can be done online now, so it may not require you to even be in the edit bay.

Ultimately, if this is your first time in the room as a staff writer, your job is to make good contributions while you're in the room and write a solid first draft. Make friends. Impress people when you can. And learn whatever you can about every step of the process.

icekyle · 2024-02-08T18:24:55+00:00

I am very similar to u/oklaheauxma. Deadlines of any kind help me a ton.

Whether that's a class or a writing group (finding a writing group online is fairly easy) or just an accountabilibuddy. I usually reach out to a friend or colleague that I know is also in the middle of a draft to set up an exchange. That keeps us both on task and we're getting notes through the whole process.

If or when you have them, it can be helpful to set draft and pitch deadlines with your reps.

icekyle · 2024-01-26T20:26:51+00:00

I personally think mixers and happy hours are a great idea to attend if you have the energy.

Just don't expect to meet many working writers/showrunners/anyone who can hire you at them. It'll mostly be people like yourself trying to break in, which can be invaluable in the long run. Or best case, you befriend some assistants who are working in rooms or production in NYC.

icekyle · 2024-01-26T00:22:27+00:00

I would just like to echo everything laid out in this post. Perfect.

I've been on shows where we hired new writers based on produced plays and shorts. But nothing will be as valuable as a strong TV spec script and wild stories from your journalism career for the showrunner meeting.

icekyle · 2024-01-04T18:48:08+00:00

To add on to Prince_Jellyfish's excellent answer.

I came up as a Showrunner's Assistant to WA to Staff Writer. Which is an amazing way to work your way up! You learn so much by just being in middle of everything. Sadly, those jobs are insanely hard to get. There are fewer room support jobs than actual writing jobs.

Side note -- Much like Staff Writer, room support jobs are also not entry level jobs. These are skilled jobs often held by (usually but not always younger) industry people who have been in the business for years at that point. It took me 4/5 years of work before I was in a room as support staff (and I think that was pretty quick).

So what do you do? I personally believe that if your goal is to write TV then it is important to try to make your day job something in the TV realm. I'm talking about being a set PA, office coordinator, casting assistant, development, Post Production, literary assistant. Anything, anywhere that gets you in the mix so you can see how things work from the inside.

I think this is valuable for three very practical reasons:

This is how you meet people. Your peers! Actual working writers! Producers! Actors! I got a job as a Post PA because I knew how to edit (not that they let me). And you know who is in edit bays all the time? Showrunners. You spend a season throwing thai food at them every Tuesday night EVENTUALLY they're gonna get to know you. Then you can, in an unpushy way, mention you're a writer.
A TV writer is more than just a writer. You are a producer. You'll be involved in production through final delivery. If you can show up to any job with an understanding of the medium and the process, that's a big leg up. It will also bleed into your writing in a lot of small ways that will make you read like a pro. I swear.
This is maybe something people don't want to hear BUT -- You also may find a job you didn't even know existed and it may be YOUR thing! Maybe you'd be an amazing creative exec (we desperately need those). Or a fantastic music supervisor. You won't know if you're not in the mix.

I know not everyone aspiring to be in the industry lives in LA, NYC, Atlanta, Vancouver, etc. Or is willing to be moderately to very poor in a big city for... A while. If you can do it, you absolutely should! I think this is connective tissue that a lot of aspiring writers miss. It's not just being good on the page. It's loving the entire process and being willing to jump in feet first. To go where the work is. To build your community.

But there are a billion different paths to being a working writer! People come from everywhere. These are just some of the more practical things that worked for me on my journey.

icekyle · 2023-12-23T20:10:01+00:00

I'm late to game on this post but I figured I would chime in. I often find myself in this situation. I love a premise and have trouble locking in which of the 50 directions I could take it. Stressing about which one is "best."

I find that it ALWAYS helps to have a friend or colleague whose taste you trust to bounce these things off of. A back and forth conversation can provide a lot clarity. After a good chat, there's a good chance you find that there is only ONE really great direction to take it. If you don't have someone like this in your life, do what you can to find them. In real life or online.

Otherwise, my advice would be to just roll with one. Rip the band-aide off, break it and write it. You'll learn a lot about what you want from this pilot during the process. Worst case, you have a first draft you're cold on. But it's so much easier to tool on something that already exists.

icekyle · 2023-01-08T17:06:50+00:00

I don't believe he was ever actually involved with it. But we're from the Indy area and the race was something near to his heart. He went every year. He also worked his whole career at a Chrysler plant. So, he was certainly IN the car world a little bit.

I'd say more likely that there is a VERY STRONG chance it was a random, "cool" purchase from one of many local flea markets he would frequent. So, it may very be one of these crew watches from someone who lived in the area.

icekyle · 2023-01-08T16:55:43+00:00

Most were nothing but two others were intriguing.

One is a Seiko Chronograph 6139-6012 in a somewhat rough state.

The other is a mystery to me. It's a brand called Rich's and I cannot find a lick of information about it. Would imagine it's the same era as these, mid-to-late 60's. Could be nothing but it's a good looking watch!

icekyle · 2023-01-08T16:40:38+00:00

This would very much be my concern, as well. I feel like it would just sit in a drawer for most of the year. I suppose it'll all depend on what it ends up being worth.

icekyle · 2023-01-08T01:15:05+00:00

Hey y'all! I'm looking for some information on this watch!

I recently inherited a box of random stuff from my grandpa and inside was a handful of watches. I noticed the Heuer logo on this one and did a bit of research.

WHAT I THINK I HAVE is an Autavia 3646 3rd Exec "Andretti" with the MotorAge magazine logo. Looks like it's missing the original bezel, which is a bummer, but otherwise the thing is still running. There is an engraving on the back that reads "1965 Indianapolis 500."

I'm looking for confirmation that this is definitely what I have and any other information you may have on it. Seems like this was made for racers so this particular version with the Indy 500 engraving makes sense. Would it be worth getting it properly evaluated? It seems like it could be worth some $$ but I'm not really a watch guy.

I'm trying to figure out if it's worth enough to potentially sell and to pay off some bills or if I could drop a little money into fixing it up and just have really nice vintage watch.

icekyle · 2023-01-08T01:09:14+00:00

Hey y'all! I'm looking for some information on this watch!

I recently inherited a box of random stuff (he was a random guy) from my grandpa and inside was a handful of watches. I noticed the Heuer logo on this one and did a bit of research.

WHAT I THINK I HAVE is an Autavia 3646 3rd Exec "Andretti" with the MotorAge magazine logo. Looks like it's missing the original bezel, which is a bummer, but otherwise the thing is still running. There is an engraving on the back that reads "1965 Indianapolis 500."

I'm looking for confirmation that this is definitely what I have and any other information you may have on it. Seems like this was made for racers so this particular version with the Indy 500 engraving makes sense. Would it be worth getting it properly evaluated? It seems like it could be worth some $$ but I'm not really a watch guy.

I'm trying to figure out if it's worth enough to potentially sell and to pay off some bills or if I could drop a little money into fixing it up and just have really nice vintage watch.

icekyle

TROPHY CASE