Downtown

Journalism isn’t only for journalists. The practice involves skills that are useful to any and all writers across genres and levels of experience. At its core, reporting is the process of asking questions and seeking answers, which is something all writers do in one form or another. In addition to interviews, research is a valuable tool for any writer to deepen and expand their understanding of a chosen subject and fact-checking can heighten the rigor and truth of any work, even the most fantastical fiction.

As part of their training, journalists learn how to distill a story down to its core components, make it legible to a wide audience, and structure information to maximize impact. These are skills and practices that all writers can benefit from. Whether there’s a journalist character in your novel, a historical component to your memoir, a narrative aspect to your academic work, or a poem that provides a glimpse into an unknown world, this class will provide a basic understanding of journalism that any writer can apply to any project.

Course outcomes:
● Writers are introduced to the fundamentals of reporting, research, writing, editing and fact-checking
● Writers explore how to incorporate these skills into their writing practice
● Writers gain confidence applying these skills in their own projects, outside of the classroom

Class schedule:
Week 1: The Journalist Mindset—Week 1 provides an overarching introduction to the key concepts of journalism and how it can be applied to any writing project. Concepts include the “5 Ws + H” and newsworthiness.

Week 2: Reporting and Research—Students will learn interview techniques; discuss other ways to access information, like court documents, public records and archives; and review best practices for research, like relying on primary source documents and vetting journal articles.

Week 3: Writing & Structure—How to write and structure a basic news story, with a discussion of how those core principles (like the inverted pyramid) can apply to any writing project. It will also address how to approach writing a feature story, which requires using information to build scenes and character development.

Week 4: Ethics & Accuracy—How to fact-check and why it matters. Students will learn what goes into fact-checking and how to ensure that the information they have gathered is accurate. They will also learn core ethical principles of journalism, such as objectivity, independence, as well as how to handle attribution (on vs off the record) and how to handle sources requesting anonymity or who are not telling the truth.

Week 5: Organization and Pitching. In this session, students will get tips on how to keep all their reporting notes and material organized to help streamline the writing, editing and fact-checking process. The class will also cover the basics and best practices of pitching so students feel empowered to send their ideas out into the world.

Week 6: Workshop. The final class will be dedicated to discussing each student’s ideas and providing collective guidance and feedback. Whether it’s a question about a story’s angle or a full-fledged pitch, this session will be a forum for everyone to take their journalistic aspirations to the next level, incorporating what they’ve learned over the past five weeks.

Access Program
We want our writing classes and seminars to be accessible to everyone, regardless of income and background. We understand that our tuition structure can present obstacles for some people. Our Access Program offers writing class and seminar tuitions at a reduced rate. Most writing classes have at least one access spot available.

Please apply here for access rate tuition. Contact Susan Moore at [email protected] if you have questions.

Liaison position
Every in-person class and seminar at Literary Arts has one liaison position. Liaisons perform specific duties for each class meeting. If you are a liaison for a class or seminar, the full amount of your tuition is covered by Literary Arts.

Apply here for the liaison position.

In rating Small Things Like These 41st on its list of the 100 Best Books of the 21st Century, the New York Times said: “Not a word is wasted in Keegan’s small, burnished gem of a novel, a sort of Dickensian miniature….”

This is an important novella in the vein of Dickens’s A Christmas Carol, but with an ending that packs a different punch. At its center is a man torn between family, community, church, and one young woman in a terrible predicament. He must make a choice, and Keegan’s exquisite, concise writing reveals that agonizing choice. It’s a perfect story to ponder and discuss: What would you choose in his situation?

Keegan’s other work, “Foster,” is a long short story with a big impact. No word is wasted as Keegan tells the story of a young girl sent to live with another family when her own mother is fraught with problems of her own. Again, in the New York Times’s glowing review they say: “Keegan makes us complicit in what her characters want, setting us up for utter heartbreak when they don’t get it.”

Foster’s is already considered canonical and is taught as a required text for Comparative Literature in the curriculum for Ireland’s secondary schools.

Join us in this two-week exploration of these incredible short works by an Irish writer of spare prose and mmense talent.

Access Program
We want our writing classes and seminars to be accessible to everyone, regardless of income and background. We understand that our tuition structure can present obstacles for some people. Our Access Program offers writing class and seminar tuitions at a reduced rate. Most writing classes have at least one access spot available.

Please apply here for access rate tuition. Contact Susan Moore at [email protected] if you have questions.

Liaison position
Every in-person class and seminar at Literary Arts has one liaison position. Liaisons perform specific duties for each class meeting. If you are a liaison for a class or seminar, the full amount of your tuition is covered by Literary Arts.

Apply here for the liaison position.

When the nation and culture you grew up in and love have been taken over by a war-waging fascist dictatorship, how do you come to understand the nature and causes of what has happened? Perhaps you can do this only after you fled for your life. How then would you look at the ruins left inside yourself? This was the situation faced by one of the most sophisticated and profound thinkers of the twentieth century, Theodor Adorno (1903–1969), when he found himself living in Los Angeles during World War II after escaping from Nazi Germany.

In this Delve we will study Adorno’s Minima Moralia: Reflections from Damaged Life—the amazing book he wrote between 1944 and 1949 to explore his feelings about the calamitous situation of a world facing despotism. We will read the entire book and focus on selected essays. The book is made up of 153 very short essays, ranging from 1-3 pages. The essays focus his philosophical genius on deeply observed and subtle aspects of ourselves that contribute to or resist the ways in which we are socialized that result in alienation, loss of will and agency, and unfulfillment. He explores consumer culture, the arts, and politics along with his recollections of the rise of fascism. Each essay is a deep and intricate knot of feelings and ideas, presented by a contemplative, perseverant, unblinking thinker of the highest order Although written in grief, Adorno always seeks hope by confronting, with maximum honesty and penetration, the deep roots of the problems human society faces. Minima Moralia is a monument to the sensitive study of culture and our psyches amidst disaster trauma. Adorno’s brilliant and strong style make this book a pleasure to think with. In this Delve we will read the entire book and focus on selected entries.

Text:
Minima Moralia: Reflections from Damaged Life<, Theodor Adorno, translator E. F. N. Jephcott (Verso)

Access Program
We want our writing classes and seminars to be accessible to everyone, regardless of income and background. We understand that our tuition structure can present obstacles for some people. Our Access Program offers writing class and seminar tuitions at a reduced rate. Most writing classes have at least one access spot available.

Please apply here for access rate tuition. Contact Susan Moore at [email protected] if you have questions.

Liaison position
Every in-person class and seminar at Literary Arts has one liaison position. Liaisons perform specific duties for each class meeting. If you are a liaison for a class or seminar, the full amount of your tuition is covered by Literary Arts.

Apply here for the liaison position.

In rating Small Things Like These 41st on its list of the 100 Best Books of the 21st Century, the New York Times said: “Not a word is wasted in Keegan’s small, burnished gem of a novel, a sort of Dickensian miniature….”

This is an important novella in the vein of Dickens’s A Christmas Carol, but with an ending that packs a different punch. At its center is a man torn between family, community, church, and one young woman in a terrible predicament. He must make a choice, and Keegan’s exquisite, concise writing reveals that agonizing choice. It’s a perfect story to ponder and discuss: What would you choose in his situation?

Keegan’s other work, “Foster,” is a long short story with a big impact. No word is wasted as Keegan tells the story of a young girl sent to live with another family when her own mother is fraught with problems of her own. Again, in the New York Times’s glowing review they say: “Keegan makes us complicit in what her characters want, setting us up for utter heartbreak when they don’t get it.”

Foster’s is already considered canonical and is taught as a required text for Comparative Literature in the curriculum for Ireland’s secondary schools.

Join us in this two-week exploration of these incredible short works by an Irish writer of spare prose and mmense talent.

Access Program
We want our writing classes and seminars to be accessible to everyone, regardless of income and background. We understand that our tuition structure can present obstacles for some people. Our Access Program offers writing class and seminar tuitions at a reduced rate. Most writing classes have at least one access spot available.

Please apply here for access rate tuition. Contact Susan Moore at [email protected] if you have questions.

Liaison position
Every in-person class and seminar at Literary Arts has one liaison position. Liaisons perform specific duties for each class meeting. If you are a liaison for a class or seminar, the full amount of your tuition is covered by Literary Arts.

Apply here for the liaison position.