Develop original TV pilots and learn how to navigate the contemporary entertainment marketplace
Mirror the practice of professional writers to develop original series concepts
The UCLA Film and Television Summer Institute – TV Writing introduces students to writing for television in Hollywood. This track mirrors the practice of professional writers in the world of episodic television and digital media by teaching students how to develop original series concepts and how to navigate the contemporary marketplace in a classroom environment that imitates the practices of a writers’ room. Under the guidance of a professional TV writer, students learn how to identify and capture the tone, characters, dialogue, and themes that make their story unique.
Participants will select one of the following two specializations:
- Introduction to TV Writing; OR
- Intermediate TV Writing for One-Hour Drama/Dramedy
Students at the introductory level write a series document, pilot outline, and the first act of the pilot script. Intermediate Drama/Dramedy level students outline and write the first draft of an original pilot, and develop the series outline as a pitch document. Students in the Drama/Dramedy track should not expect this to be a polished first draft, but will leave with the feedback and tools to further revise this into a fully-realized pilot for their portfolios and careers.
At the conclusion of the program, Introduction and Intermediate Drama/Dramedy TV Writing students pitch their TV show ideas to television professionals in the industry for feedback and notes.
On-Campus and Virtual options available.
Film and Television Summer Institute – TV Writing Track Program
This track offers two specializations, Introduction to TV Writing and Intermediate TV Writing for One-Hour Drama/Dramedy.
Students at the introductory level write a series document, pilot outline, and the first act of the pilot script. Intermediate Drama/Dramedy level students outline and write the first draft of an original pilot, and develop the series outline as a pitch document. In small workshops, students at all levels meet twice a week to discuss ideas, break stories, and give feedback and notes on each other’s work. All tracks offer nine units of UCLA credit. Please note that students of all specializations are expected to spend a minimum of 25 hours-per-week writing outside of class meetings.
Two Specializations:
Introduction to TV Writing: The Introduction to TV Writing specialization is designed for students with little to no previous experience in writing for television. Students are introduced to the pilot format, covering style and content as well as the principles behind network needs and how pilots are chosen across broadcast, cable and digital platforms. Students write a series document, pilot outline, and the first act of the pilot script.
Courses:
- Film and Television 104 – Film and Television Symposium (1 unit)
- Film and Television 131 – Introduction to TV Writing (8 units)
Intermediate TV Writing – One-Hour Drama/Half-Hour Dramedy: This course is designed for students with some writing experience who are interested in writing for the one-hour drama format (Pose, Chernobyl, The Good Doctor, Succession, Fargo, WATCHMEN), half-hour drama format (Homecoming), half-hour dramedy formats (Glow, Fleabag, Atlanta), covering style and content as well as the principles behind network needs and how pilots are chosen across broadcast, cable and digital platforms. Students outline and write the first draft of an original pilot, and develop the series outline as a pitch document. Students in the Drama/Dramedy track should not expect this to be a polished first draft, but will leave with the feedback and tools to further revise this into a fully-realized pilot for their portfolios and careers. Open to works in progress and rewrites.
Courses:
- Film and Television 104 – Film and Television Symposium (1 unit)
- Film and Television 133B – “Intermediate TV Writing – Drama/Dramedy” (8 units)
Symposium
In the exclusive Summer Institute Symposium, students from all TV Writing levels meet and listen to some of Hollywood’s most accomplished professionals. High-wattage guests have included Eric Heisserer (writer, Arrival); Steven Canals (creator and EP of Pose on FX); Jeff King (Executive Producer of The Umbrella Academy on Netflix); Agents from CAA, ICM, Paradigm, and UTA; Simon Kinberg (Writer/Producer, Deadpool, X-Men: Apocalypse, The Martian); Zak Penn (Writer, Ready Player One); and many others.
Hollywood and the Industry
A networking mixer for students and alumni takes place on the last night of the program and the film projects from the film production tracks are shown.
Professional Development Symposium
As part of the FTV 131/133B curriculum, guest lecturers with established careers in television lead professional development workshops for students from all TV Writing levels. These workshops explore topics such as How to Pitch and Demystifying the Script Coverage Process.
Demystifying the Script Coverage Process:
Script coverage is ubiquitous in the industry. A writer’s screenplays and teleplays will undergo coverage whether submitted to management companies, agencies, production companies, or studios. A main job duty of interns and assistants will be writing script coverage. Understanding and writing excellent coverage not only provides an important career skill, it allows a writer to put themselves in the shoes of the reader to aid in their writing. This workshop will introduce the basics of script analysis and the different formats of coverage reports, discuss industry uses of coverage, and familiarize students with the roles that most utilize this skill (Script Reader, Story Editor, Development Exec).
How to Pitch:
In this workshop, students will get the inside scoop of how projects are pitched and sold in Hollywood taught by a seasoned industry professional. With an eye toward the final pitch panels at the end of the session, students will learn what goes into a pitch, the elements that make it compelling, how to apply it to their own material in a way that will keep their listeners on the edge of their seats.
Pitch Panels
As a culmination of the TV Writing program, students have the opportunity to pitch their own TV show idea to a panel of accomplished industry professionals. The panel allows students to practice their pitching skills, building off of what they learned in the How to Pitch Weekend Workshop. At the end of the pitch, the panelists give feedback to each student, drawing on their extensive insight and experience in pitching and development.
Application deadline:
June 1, 2023 (Session A)
Enrollment deadline:
June 15, 2023 (Session A)
The program has application requirements for admission. Eligible applicants who submit all requirements successfully and timely, will be reviewed and notified via email of an admission decision within 3 weeks. Early application is strongly encouraged.
Applicants are required to provide the following during the online registration process:
Requirements for Introduction to TV Writing
Students with little to no previous experience in writing for television are welcome to apply. As part of the application, students must submit:
- A short personal statement and three log lines (1-2 sentences each) for three original story ideas.
Requirements for Intermediate TV Writing
The Intermediate TV Writing specialization is open to aspiring writers (18+) who have already completed a college level introductory screenwriting course. As part of the application, students must submit:
- A short personal statement.
- Three log lines (1-2 sentences each) for three original story ideas.
- A 2-3 page original scene (screenplay format).
- A 2-5 page scene that demonstrates creativity and a strong original voice (screenplay format), based on the following writing prompt: “Write a break-up scene between two people (e.g., partners, best friends, bandmates, etc.).” Keep in mind the visual storytelling and dialogue of the scene.
Requirements for International Students
- Proof of English proficiency – Citizens from non-English speaking countries ONLY (Citizens of the UK, Australia, New Zealand, Ireland, Singapore, and Canada are exempt from English Proficiency requirements):
- TOEFL – Minimum score of 79 (iBT) or 550 (PBT); IELTS – 6.5 or higher;
- iTEP – 5 or higher;
- CEFR/CAE/CPE – Level C1- Grades A, B, and C;
- International Baccalaureate (IB) – IB students may submit a transcript or verification of enrollment from their school; OR
- Proof of completion in English as a language course
Students will receive a letter grade upon completion. See University Credit, Grades and Transcripts for more information about academic credit.
International students may enroll in the Film and Television Summer Institute – TV Writing. International students enrolling in in-person sessions of this program may qualify for an F-1 visa.
Online Courses: International students who enroll in courses and programs that are offered exclusively online are expected to participate from where they are without traveling to UCLA. International students enrolling in the virtual section of the Film and Television Summer Institute – TV Writing (Introductory) in Session C would not qualify for an F-1 visa.
More information for international students attending Summer Sessions can be found here.
As of 6/15/2023, the Film and Television Summer Institute – TV Writing enrollment is closed.
Session A:
Intro:
June 26 – August 4, 2023
Admission based / In-person
Intermediate:
June 26 – August 4, 2023
Admission based / In-person
Program Eligibility: High school diploma (or equivalent) & Age 18+
UCLA Coursework:
Intro: Film TV 104 & 131; 9 units
Intermediate: Film TV 104 & 133B; 9 units
Application deadline: June 1, 2023 (Sess. A)
Enrollment deadline: June 15, 2023 (Sess. A)
Program schedule and syllabus are subject to change.
Fees and Payment Info
The program fee includes the unit fees for the UCLA coursework offered as part of the program and thus varies by UC student status. In addition to the program fee, students are assessed other campus and administrative fees during the summer. This is a summary of fees that commonly apply to the selected student type.
Actual tuition and fees are subject to change by the University of California. Visit the fees, payment, and financial aid section for important disclaimer, as well as more details on fees, payment instructions, and information on delinquency, refunds, and financial aid.
Virtual Program Fees:
In addition to the program fee, students are assessed other campus and administrative fees during the summer.
UC Undergraduate Students: $3671
UC Graduate Students: $4301
Non-UC Visiting Students: $4400
Meet your instructors
Instructors for the UCLA Film and Television Summer Institutes are UCLA Department of Film, Television and Digital Media faculty.
Kate Torgovnick
Kate Torgovnick May is a television writer who’s drawn to unexplored female worlds — an all-female city council, the staff lounge of a fertility clinic, the sugar baby conference circuit. A former journalist who worked at JANE Magazine, The New York Times and TED Talks, she transitioned to television when her nonfiction book, CHEER!: Inside the Secret World of College Cheerleaders, was transformed into the series HELLCATS on The CW, for which she served as consulting producer. She has since written on CBS’s powerhouse series, NCIS, with her episodes “Musical Chairs” and “Schooled” among the highest-rated in years. She is currently developing several of her own series, while also helping to create TED TV, putting together an exciting slate of shows based on IP from the TED universe.
Jill Goldsmith
Jill Goldsmith is a writer and producer for television, with credits on many Emmy-winning series, including NYPD Blue, The Practice, Ally McBeal, Law & Order, Boston Legal, and also Rizzoli & Isles. Currently in development with a project, she was previously the Showrunner and Executive Producer for a one- hour drama in development at BET. Jill was also a Finalist for the Humanitas Prize for an episode of Boston Legal, and has sold pilots to ABC, NBC, and Universal. She has been a featured speaker at many conferences and writing programs, and has appeared on C-Span Close Up, CBS News, and CNN. Jill received an MFA in Screenwriting from the UCLA School of Theater, Film and Television, where she is currently a professor in the MFA in Screenwriting Program. She is a contributing author to the book, Lawyers In Your Living Room! Law On Television, published in 2009, in which she wrote the chapter entitled, Writing For Television: From Courtroom to Writers’ Room. Prior to writing for television, Jill spent seven years as a Public Defender in the Juvenile and Felony Trial Divisions of the Cook County Public Defender’s Office in Chicago, Illinois, and also served an internship with U.S. Senator Paul Simon on the Senate Judiciary Committee.
Film and Television Summer Institute – TV Writing Track FAQ
Qualified students may apply to more than one track as long as the dates do not overlap. For example, a student may take Traditional Animation, and then take TV Writing.
Applicants from all backgrounds are encouraged to apply. The TV Writing program has two tracks specifically designed for beginning TV writers and intermediate TV writers.
Students will need to check with their academic counselor to see if the coursework included in the program will count towards their graduation requirements or if credit will transfer to their home institution. For UCLA students, courses may fulfill a major or minor requirement, or count as upper-division course credit.
No, students from all different majors are welcome to apply.
Still have questions? Check out the general Summer Institutes FAQ.