The future of art and technology hasn’t been determined yet. Despite what the big names in tech and media want us to believe, there is still time to establish a world that supports creative professionals who are trained in hands-on film and story approaches. A world that doesn’t put AI demand first. A world that seeks out stories told by other human beings.
At this point of flux in the world, now is the time for educational institutions to embrace what students and the future creative workforce needs.
Today’s students need to learn to stand up for their artistic visions, articulately defend their points of view, and know when to compromise for the betterment of their projects. They need a supportive environment that allows them to grow, explore and collaborate while also being challenged. Additionally, they need these things while focusing on developing skills that translate across industries and prepare them not just for their futures as creatives, but for their futures as creative professionals with cross-functional skills that ensure they’re hirable and poised for long-lasting careers.
Just as importantly, students need environments that also foster a love of learning.
I’ve learned firsthand through decades of work in design, photography, film, marketing and journalism that education is an ongoing process — especially in a world where technological and creative advancements push the boundaries of story and film further and further every year. An instilled desire to continue learning post-graduation will equip students with the flexibility to shift their careers as current trends change and in-demand skills evolve.
As a teacher, I’ve worked with incoming college freshmen to teach them the core basics of autobiographical writing and the importance of self-exploration through discussion of craft elements including: discovering the self, writing about others and community, imagery, origins, and truth. They learned how to craft their lived experiences into autobiographical essays, plays, screenplays, poems and graphic essays. I’ve seen them realize that they have something to say and I’ve heard them say it loudly and clearly.
I have also developed a writing for television course that examines the fundamentals of screenwriting for episodic content. Through the study of pilot scripts, produced and aired pilots and webisodes, craft books, workshops and lectures, the course teaches students to map, structure and develop an original television pilot or web series. By the end of the course, students will have 30 pages of completed script in one of the following formats: a full 30-minute pilot teleplay, the first half of a one-hour pilot teleplay, multiple episodes (up to a full season) of a web series.
I am eager to find a university to call home where I can continue my work of showing students we all belong, and that there will never be a time when human beings don’t want stories told by other human beings.