Spring 2026 Courses in Film, TV Writing, Creative Writing

FLM 505.S60 (#52999) ADVANCED MASTER CLASS- Christine Vachon - Tuesdays, 5:30-8:20, 3 credits

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 learn the realities of the independent film business from top industry professionals, including producers, casting agents, designers, actors, and lawyers, as well as distinguished filmmakers.

Overview of territories, worldwide vs. territorial sales International/Worldwide/Domestic Sales Agents Sales estimates/Gap Financiers/Lenders Collection Agencies. This class is a core requirement for the Producing Track in the MFA in Film.

FLM 576.S64 (#53025)- PRODUCER LAB - MARKETING & DISTRIBUTION - Simone Pero – Tuesdays, 2:30-5:20 PM, 3 credits

This course is designed to be taken following the completion of Creative Producing Development Workshop: First Feature Film (or, with instructor approval), and is highly recommended to be completed in conjunction with student thesis projects and/or prior to program completion. 

This course is for students preparing to launch their projects into the world. Enrolled students are required to have a cohesive script (film or TV) completed and a lookbook. Students will workshop their projects through building finance, marketing, and distribution plans. Emphasis is on learning strategies and skills to most effectively present projects to collaborators, agencies, financiers, and sales agents for distribution including festivals and grants. Students will dive into audience outreach and tactical marketing techniques for your project’s release into the consumer marketplace. This class will prepare you to realize your project creatively, logistically, and financially. It offers practical application and expert feedback, and equips you with a critical piece of collateral to promote and sell your project, as well as an opportunity to build your own personalized professional brand for career advancement. 

Prerequisite: Students are required to submit their project for approval by the instructor prior to the first day of class.

FLM 537.S60 (#52997) – PRODUCTION I - Jennie Allen, Summer Shelton - Mondays 5:30-8:20PM, 3 credits

You will work from the scripts you developed in Fall. In the first weeks of the semester, you will attend workshops in script breakdowns, casting, locations, budgeting, safety, scheduling, and sustainability while doing all the necessary directorial preparation to bring your vision of the script to the screen. Then we launch into the production phase where you will present, discuss, and troubleshoot each other’s plans in class. Everyone must crew on each other’s films in NYC - expect to spend a fair amount of days on set. Experience is truly the best teacher and you will learn the most from working together outside of the classroom. We will screen rough cuts at the end of the semester. 

FLM 550.S01 (#52661) TEACHING PRACTICUM - Karen Offitzer – Thursdays, 2:30 pm,  3 credits

This course open to FLM, TVW, and CWL students

Teaching Practicum: This is a weekly seminar in teaching at the University level, with special emphasis on teaching in the creative arts, specifically creative 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 for grading assignments, 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 exploring issues that arise when teaching creative endeavors such as writing and filmmaking. Classes will be held at the Manhattan Center For Creative Writing and Film and Main Campus (Stony Brook), schedule to follow.

FLM 509.S60 (#53000) CINEMATOGRAPHY 1 – SHOOTING WITH STYLE – Jordan Roberts & Niav Conty,  6 Saturdays, Jan 31, Feb 7, 14, 21, 28, March 7 - 11AM-6PM  3 credits

As important as are story, script, casting, and locations, all have to be captured properly…and you first have to learn how to use the equipment that does just that. This workshop will introduce you to the tools that you will have at your disposal to shoot your films. We will further cover set safety, proper handling of the gear, set protocol, the ins and outs of a professional level camera and lens kit,  grip and lighting gear, and color grading in Resolve. This is the next step to help you create beautiful images that bring your stories to life. FLM ONLY, FULLY IN-PERSON CLASS.

FLM 508.S60 (#52998) EDITING THE GENRES (EDITING 1) – Jordan Roberts - Wednesdays, 2:30-5:20 PM, 2 credits 

WEDNESDAYS 3/25, 4/1, 4/8, 4/15, 4/22, 4/29, 5/6

Horror, comedy, drama and action. Four different genres, four different editing styles. This course will cover the methods on how to edit these very different pieces of material and why each and every cut that is made has a purpose. We will focus on both the tools of editing as well as the theory of it. Through analyzing film clips, class discussion and hands-on lessons, we will break down the fundamental differences in these styles and delve into the process of constructing them.  Working with Adobe Premiere Pro, students will have the opportunity to edit various scenes, which will range in style and tone. This course will get you thinking critically about all aspects of filmmaking, including blocking, framing, locations and shot selection. Please note that additional class time will be arranged with the instructor. FLM STUDENTS ONLY 

FLM 508.S61 (#53008) EDITING THE GENRES (EDITING 1) – Jordan Roberts - Wednesdays, 5:30-8:20 PM, 2 credits 

WEDNESDAYS 3/25, 4/1, 4/8, 4/15, 4/22, 4/29, 5/6

Horror, comedy, drama and action. Four different genres, four different editing styles. This course will cover the methods on how to edit these very different pieces of material and why each and every cut that is made has a purpose. We will focus on both the tools of editing as well as the theory of it. Through analyzing film clips, class discussion and hands-on lessons, we will break down the fundamental differences in these styles and delve into the process of constructing them.  Working with Adobe Premiere Pro, students will have the opportunity to edit various scenes, which will range in style and tone. This course will get you thinking critically about all aspects of filmmaking, including blocking, framing, locations and shot selection. Please note that additional class time will be arranged with the instructor. FLM STUDENTS ONLY 

FLM 609.L60 (#53011) CINEMATOGRAPHY II: INTRO TO THE RED EPIC-W -Jordan Roberts,  2 Fridays: Jan 23, 30 - 11am-5:30 pm, 1 credit

This intense and highly focused workshop will introduce you to the RED Epic-W, an industry standard cinema camera that is used on scores of professional film sets. We will discuss how to build the camera, prep it for shooting, manipulate images in camera, review various shooting settings and eventually how to capture beautiful imagery. In addition to learning how to use the camera, you will be introduced to some new equipment and we will touch on some more advanced camera and lighting techniques. Additionally, we will discuss post workflow.

THIS IS EQUIPMENT INTRO ONLY and REQUIREMENT FOR ALL DIRECTORS IN PROD II

FLM 609.L61 (#53026) CINEMATOGRAPHY II - Niav Conty- 4 Fridays: Feb 6, 13, 20, 27 11am-5:30pm - 2 credits

This course is a continuation of FLM 609, for those who wish to get more hands-on cinematography experience with the Red Epic-W. In class exercises will explore lighting setups, impactful shots, and scene coverage. Students will develop confidence and flexibility in shooting and proficiency in harnessing the emotion of an image. Open to any 2nd or 3rd year student who has taken FLM 609 or in conjunction with FLM 609. Please note that additional individual meetings will be arranged with the instructor. 

THIS IS NOT REQUIRED BUT RECOMMENDED FOR PROD II DIRECTORS

FLM 637.S60 (#53003) - PRODUCTION II – Perry Blackshear & Summer Shelton, Mondays, 5:30-8:20 - 3 credits

The primary goal of this collective workshop is to foster students' individual visions while expanding the scope of their production knowledge and experience. Participants must bring a 7-10 page script to the first class. Classes will focus on directors’ and producers’  preparation - both creative and practical. For the shoots, students will choose their collaborators and run their own sets. Please note that additional class time will be arranged with the instructor. For FLM students.

FLM 650.S60 (#52995) SCREENWRITING I - TBD, Wednesdays, 5:30-8:20 PM - 3 credits

In this course students develop a feature length screenplay idea. Screenings, screenplay readings, and analysis of feature film structure accompany writing exercises and assignments designed to help students develop their idea into a compelling, original story. Students leave with a prose treatment of their story from start to finish as well as the first 30 pages. Open to FLM and CWL students (with former knowledge of Final Draft and screenwriting)

FLM 650.S61 (#53009) SCREENWRITING I - TBD, Wednesdays, 2:30-5:20 PM - 3 credits

In this course students develop a feature length screenplay idea. Screenings, screenplay readings, and analysis of feature film structure accompany writing exercises and assignments designed to help students develop their idea into a compelling, original story. Students leave with a prose treatment of their story from start to finish as well as the first 30 pages. Open to FLM and CWL students (with former knowledge of Final Draft and screenwriting)

FLM 652.S60 (#53002) SCREENWRITING III - SCRIPT REVISION – Leonard Crooks, Thursdays, 5:30-8:20, 3 credits

Script Revision course is for students who have previously drafted a narrative feature film script and who are prepared to subject the script to a rigorous health check by their peers. Each class will be a forum for critique and discussion with a view to assisting the presenting writer to redraft with renewed confidence. Later classes will focus on full table reads of redrafted scripts. Caps at 6.

Bottom line - Open to Second Year FLM students with a full or partially completed screenplay.

FLM 652.S61 (#53027) SCREENWRITING III - SCRIPT REVISION – Leonard Crooks, Wednesdays, 5:30-8:20, 3 credits

Script Revision course is for students who have previously drafted a narrative feature film script and who are prepared to subject the script to a rigorous health check by their peers. Each class will be a forum for critique and discussion with a view to assisting the presenting writer to redraft with renewed confidence. Later classes will focus on full table reads of redrafted scripts. Caps at 6.

Bottom line - Open to Second Year FLM students with a full or partially completed screenplay. 

FLM 660.S60 (#53005) DIRECTING ACTORS/ACTING FOR DIRECTORS - Shira-Lee Shalit, Thursdays, 5:30 -8:20 PM, 3 credits

For first year Film and TVW students. Students will study the basics of acting techniques and directing actors, including casting, directing and working with professional actors on scenes that they choose. Each student will act, direct and support their classmates’ scenes. Four class meeting times will run til 9 PM.

FLM 576.S60 (#53004), 1-6 credits, Brandeis

FLM 669.S60 (#53035) - Thesis Directing Workshop - 3 cr. - Open schedule TBD - Niav Conty

This class is for students in thesis pre-production who seek additional creative prep before shooting. Course will address: script analysis, defining key scenes and their connection to the film's themes, refining the director's vision, and detailed shot-listing. Entire short films or selected key scenes of features will be discussed.

The goal of the course is for students to move into their thesis shoots with a lucid understanding of what their film is about and how to best realize their project.

Sessions will be one on one and established around students’ shooting schedules.

To be taken the semester of your shoot or before your summer or winter shoot. Anticipated thesis shooting dates must be established before enrolling in this course. 

REQUIRED FOR THESIS FEATURES, and OPTIONAL FOR THESIS SHORTS

REQUIRED Thesis Directing Workshop form

FLM 690.T60 (#53592) PROFESSIONAL INTERNSHIP - Brandeis/Koffler, 1-3 credits

INTERNSHIPS are available to all students in their second year. Students may seek their own internships or apply to intern at Killer Films. 

Killer Films: We're looking to onboard our spring interns during the week of 1/13, so we’ll start accepting submissions immediately, with interviews next week. We ask interns to work two days – one day remote, one day in-person – each week based on availability. We ask for a resume and cover letter, which can be sent directly to Anna Robinson <ar@killerfilms.com>  We'll interview the week of 12/12. Thanks! 

FLM 591.T60 (#53010), INDEPENDENT PROJECT, Brandeis - 1-3 credits 

An independent study can be taken for variable credit for any non-production related activity, such as writing, editing, cinema theory, with prior instructor approval, discreet meeting times, and specific goals. The goal of the independent study is self-driven work, so it is up to the student to drive the study. Completed independent study forms must be signed by the instructor prior to registration. 

REQUIRED Independent Project form

FLM 691.V60 (#53590) THESIS PROJECT – Brandeis, Southampton, 1-3 credits

FLM 692.V60 (#53591) THESIS PAPER – Brandeis, Southampton, 1-3 credits

Thesis projects are administered through Southampton and have a Southampton Component.

TVW 536.S65 (#53016) PILOT I – ORIGINAL SERIES - Scott Burkhardt, Mondays 5:30-8:20 PM plus 1-on-1 - 5 credits

Students build on the skills developed in the Fall semester to create a pilot script for an original series.  Working from the ground up, students begin by creating a series concept that has both a powerful emotional core and a story engine that can sustain multiple seasons.   Next, students create stories for their pilot episode and then move on to outlining scripts and writing scenes with dialogue, working toward their finished pilot script.  Paired with one-on-one advisement every other week. TV WRITING TRACK ONLY

FLM 550.S60 (#52661) TEACHING PRACTICUM - Karen Offitzer – Thursdays, 2:30-5:20 pm,  3 credits

NOTE: required attendance in Manhattan Center, SBU Main Campus, and Zoom

This course open to FLM, TVW, and CWL students

Teaching Practicum: This is a weekly seminar in teaching at the University level, with special emphasis on teaching in the creative arts, specifically creative 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 for grading assignments, 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 exploring issues that arise when teaching creative endeavors such as writing and filmmaking. Classes will be held at the Manhattan Center For Creative Writing and Film and Main Campus (Stony Brook), schedule to follow.

TVW 650.S65 (#53020) SCREENWRITING I - Jennie Allen - Tuesdays, 5:30-8:20 PM - 3 credits

The aim of this workshop is to learn the craft of feature film screenwriting through developing a story idea, analyzing produced feature films and scripts, and critique of student work.  We look at character and character arcs, premise, structure, sequences, and scope.  Assignments guide students through developing a feature screenplay idea into a completed treatment or outline and first act. 

TVW 652.S65 (#53021) – SCREENWRITING III / TV Pilot III + 1 on 1 - Alan Kingsberg – Thursdays, 5:30-8:20 pm - 5 credits 

The capstone  pilot course of the MFA program. Each student creates an original TV series for which they write the pilot episode.  Paired with one-on-one conferences every other Wednesday between 2-4:30 pm. 5 Credits. TV WRITING STUDENTS ONLY.

TVW 660.S65 (#53024) ACTING FOR DIRECTORS - Shira-Lee Shalit - Thursdays, 5:30-8:20 PM - 3 credits 

For first year film and TV W students. Students will study the basics of acting techniques and directing actors, including casting, directing and working with professional actors on scenes that they choose. Each student will act, direct and support their classmates’ scenes.  

TVW 691.V66 (#53023) – TV REVISION/THESIS – Scott Burkhardt- Wednesdays 5:30-8:20 pm - 3 credits  

Students workshop and revise one or more TV scripts. This can include any spec or pilot previously written in the MFA program.  The goal is to revise and polish at least one script to include in the student’s professional portfolio.  3 Credits. TV WRITING STUDENTS ONLY. Thesis projects are administered through Southampton and have a Southampton Component.

TVW 526.S66 (#53014) – FORMS OF TV WRITING -WEB SERIES - Kris Lefcoe - Tuesdays, 5:30-8:20, 3 credits

Part one of a Capstone class. Each student pitches, writes and preps a micro pilot for a webseries. The goal of the class is to shepherd students up to the point of production of a screenable 5-minute story/concept-launching pilot for their own original digital series. Production and post production will take place in the Fall of 2026. Modeled after the tight schedule of real-life film and television production, students will be expected to meet strict deadlines in each phase of pitching, writing, scheduling, prep.

TVW 576.S66 (#53034) FILM WORKSHOP – COMEDY: TURN STAND-UP COMEDY INTO A TV SERIES - Dan Perlman - Saturdays, 1:00-3:50 pm,  9 Saturdays, exact schedule TBA  - 2 credits

Acclaimed stand-up comedian and  co- creator of Showtime’s Flatbush Misdemeanors covers how to turn stand up comedy material into a viable TV series. Working with two widely released one-hour specials, students will form two teams to turn the material into a mini bible for a series. Meets  Saturdays from 1 PM to 3:50. There will be seven to nine sessions, exact schedule to come.  2 CR. Open to FLM and CWL but with priority to TVW.  By permission of the TVW Program Director.

TVW 576.S68 (#55665) Film Workshop: Producing Short Form Comedy Content - Comedy in the Field - Ethan Berlin - 3 credits - Fridays, 6:00-8:50 PM 

Write and produce short form comedy pieces that can become YouTube content or the type of segments produced at the Daily Show, John Oliver or Kimmel.  Using your iphone or similar device, you’ll produce topical, MOS and scripted segments. Priority for TVW students in sixth semester - open by request to all FLM students, CWL students and other TVW students.

TVW 692.V65 (#53595) MFA THESIS PAPER – Kingsberg/Burkhardt/Sidner – 1-3 credits - Date TBD

Will include two one-on-one meetings with your thesis advisor.  Most work will be done between meetings and prior to final presentation.  The goal is to polish ONE SCRIPT so it is as "Industry Ready" as possible.  In addition, students will pitch a new series idea and come up with enough about the series concept and pilot stories so that when they graduate, they will have something ready to work on while starting their careers.  In addition, there will be a final review involving a panel that includes a second (and possibly third) reader.   TV Writing students who have fulfilled all other core requirements only.  May not be paired with more than one other class.  Times TBD.

TVW 690.T65 (#53593) PROFESSIONAL INTERNSHIP - Kingsberg/Brandeis, 1-3 credits 

Students work on Killer Films NYC-based production or other productions elsewhere. For FLM and TV students. Application and contracts required.

TVW 591.T65 (#53018) - INDEPENDENT PROJECT - Kingsberg, 1-3 credits

TVW 576.S65 (#53017) -  FILM WORKSHOP - Kingsberg, 1-6 credits 

TVW 691.V65 (#53594) - MFA THESIS PROJECT - Kingsberg, 1-3 credits

 

Manhattan MFA in Creative Writing Course List - Spring 2026

All CWL courses are 4 credits unless noted otherwise.

All classes are In Person unless noted otherwise.

NB: Spring semester begins Monday, January 26. Last day of regularly scheduled classes is Saturday, May 9. The official end of term is Wednesday, May 20.

Registration begins Nov. 3, 2025. Course requests should be put through our online form.

CWL 510.S60 (#55067): Writing the Fantastical - Marissa Levien

Thursdays. 6-8:50PM

What happens to a story when we leave realism behind? Do the same craft rules apply? What does it take to write a fantastical story and write it well? In this class we'll workshop two stories per student and read examples of short stories in many fantastical genres including horror, spec, sci-fi, magical realism, and fantasy. Authors will include Kelly Link, Gabriel Garcia Marquez, Carmen Maria Machado, Octavia Butler, Arthur C. Clarke, Mariana Enriquez, and more.

CWL 535.S60 (#55068): Writing in Multiple Genres: Humor Writing - Patricia Marx

Wednesdays. 6-8:50PM

• “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 lesser-known humorists, and complete weekly writing assignments. Students already working on projects are welcome to develop them. You will learn a thing or two and you will have fun - or else!

CWL 560.S60 (#53030): Topics in Literature for Writers: Long Form Fragmented Narrative- Robert Lopez

Wednesdays. 2:30-5:20PM

In this class we'll read and discuss fragmented/fractured long-form narrative in novels and creative nonfiction. We will examine how these writers employ form and challenge tradition and then we'll write our own pastiches based on these works. We'll read books by Renata Adler, Renee Gladman, Mary Robison, David Shields, Fernando Pessoa, Juan Rulfo, Elizabeth Hardwick, and others.