In this issue:
MESSAGE FROM HARVARDWOOD
NEWS
Announcing the Harvardwood Emerging Visual Artist Fellowship
2025 Harvardwood Emerging Visual Artist Fellowship Applications Now Open
Harvardwood Writers Competition 2025 Applications Now Open
Call for Filmmakers: Create a 3-Minute Sizzle Reel for Harvardwood’s 25th Anniversary!
Harvardwood Actors Collective
What's Holding You Back In Your Writing Life -- 6 Week Workshop (Harvardwood Discount!)
Featured Job: Assistant to Senior Literary Manager and Producer
FEATURES
Alumni Profile: Danielle Feinberg AB ‘96 (cinematographer)
Industry News
Welcome New Members
Exclusive Q&A with Leyla Brittan AB '19 (author)
CALENDAR & NOTES
Bridging Science and Story: Communicating Complex Ideas through Media (Virtual)
Getting it Right: Portrayals of Kids, Adolescence, and Puberty in Media and Entertainment (Virtual)
WE LIVE IN CAIRO with Talkback (NYC)
Veterans Day Pitch Panel (Virtual)
Last Month at Harvardwood
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
Do I feel a wool cap with a teeny tiny bill on my head? Because boy do we have a lot of news going into the fall.
Hot off the presses: we are announcing the Harvardwood Emerging Visual Artist Fellowship, applications Open Now! We're all giggling and kicking our feet to see your art, so submit soon. Our Harvardwood Writers Competition 2025 Applications are once again Open, boy do the years start coming when your screenplay is on its 30th coat of paint, eh? Do you see dead people?? Do you??
Speaking of, we are looking for a Filmmaker to Create a 3-Minute Sizzle Reel for Harvardwood’s 25th Anniversary for the silver screen! I now have 25 years to figure out some heinous gold pun. And last but very much not least, dust off your skull-holding monologue hand and sign up for the Harvardwood Actors Collective! We promise there will be no forced Meisner stuff.
Event-wise, we have 'em! Join us to Bridge Science and Story, Get Portrayals of Kids, Adolescence, and Puberty Right, get lit, hit a dab, pay fanum tax, et cetera. Hang with the New York cohort at WE LIVE IN CAIRO, or work out the kinks in your pitches at the Veterans Day Pitch Panel! Lots to do, no time to waste!
As always, we want to hear from you, our members — if you have an idea for an event or programming, please tell us about it here. If you have an announcement about your work or someone else's, please share it here (members) and it will appear in our Weekly and/or next HIGHLIGHTS issue.
Best wishes,
Grace Shi
Operations and Communications
Announcing the Harvardwood Emerging Visual Artist Fellowship
Harvardwood is pleased to announce the inaugural Harvardwood Emerging Visual Artist Fellowship for visual artists who have graduated from Harvard College in the past five years. The purpose of the Fellowship is to develop, elevate, and amplify visual artists during the crucial early stages of their careers. The generous gift from an anonymous donor will support at least one artist as they pursue their creative projects over the course of a year.
Harvardwood Founder Mia Riverton Alpert (AB ‘99) said, "Harvardwood is thrilled to introduce a Fellowship dedicated to supporting artists working in visual, studio, and fine art mediums. We have long aspired to better serve the passionate and talented Harvard visual arts community, and the Emerging Visual Artist Fellowship is a groundbreaking step in that direction."
The Fellowship selection committee is comprised of Harvardwood board members, other industry professionals, and/or Harvard University staff with expertise in various artistic disciplines.
2025 Harvardwood Emerging Visual Artist Fellowship Applications Now Open
The newly-announced Harvardwood Emerging Visual Artist Fellowship (HEVAF) is now open for applications through Nov. 30, 2024. The purpose of the Fellowship is to develop, elevate, and amplify visual artists during the crucial early stages of their careers.
The inaugural Fellow will be notified by December 31st, 2024, and the Fellowship will run from January 1, 2025 through December 31, 2025. At least one Fellow will be named and awarded a $10,000 grant. Grant funds can be used at the grantee’s discretion in support of their creative work for the duration of the Fellowship period.
Applicants must have graduated from Harvard College within the last 5 years (degree received between May 2019 and December 2024). This Fellowship is open to artists working in predominantly visual disciplines (sculpture, painting, photography, printmaking, textiles, ceramics, drawing/illustration, multimedia, etc). For the purposes of this Fellowship, the fields of narrative or nonfiction film, theater, and performance art are not included; artists working exclusively in these disciplines may apply for other Harvardwood Fellowships. Applicants may reach out to Harvardwood for confirmation if there is uncertainty around whether their work falls into an included category.
Each Fellow will receive additional assistance through Harvardwood via programs, resources, and access to the wider Harvardwood network during their fellowship year.
Applications Due: November 30th, 2024
Harvardwood Writers Competition (HWC) 2025 Applications Now Open
The Harvardwood Writers Competition (HWC) was founded in 2006 with the aim of recognizing superior work by Harvard writers and giving these talented individuals the opportunity to gain industry exposure.
We're accepting submissions of half-hour pilots, one act plays, one-hour pilots, and feature scripts.
HWC applicants can opt to receive judging comments and feedback for each script submitted. The notes are aimed to illuminate judges' reactions to your script (beyond the numerical average of your scores received by semi-finalists and finalists) and may be useful to you for future rewrites.
Only Full Members of Harvardwood are eligible for the competition (Friends of Harvardwood are ineligible). To become a Full member, non-members can register by clicking here.
Deadlines are as follows:
September 30th, 2024 - early bird $45
October 21st, 2024 - official deadline $55
November 11th, 2024 - late deadline $75
More info and application HERE
Call for Filmmakers: Create a 3-Minute Sizzle Reel for Harvardwood’s 25th Anniversary!
Harvardwood is celebrating 25 years of fostering creativity, connection, and community in the arts, media, and entertainment industries. To commemorate this milestone, we’re seeking a talented filmmaker from our community to help us create a vibrant 3-minute sizzle reel that captures the essence of Harvardwood and its impact over the past quarter-century.
We’re looking for a dynamic, engaging video that:
Highlights key moments, events, and milestones from our history
Showcases the incredible achievements of our members
Reflects the diversity of our community and the breadth of creative industries we support
Conveys the passion, energy, and excitement that define Harvardwood
Email us at admin@harvardwood.org if you’re interested in helping us tell the story of Harvardwood over the years.
Harvardwood Actors Collective
A gathering of supportive actors looking to exercise their craft and keep their instruments limber, the Harvardwood Actors Collective will hold monthly play reading events, celebrating works both old and new! Join us, and get back to why you love doing this in the first place…bringing great texts to life.
If interested, please submit the following by Thursday, October 10 to programs@harvardwood.org:
Your headshot
Your acting resume
Your reel (if you have one)
Your availability on Wednesday, October 23 from 7:30-9:30pm PT (You can put YES/NO)
A list of plays you’d love to read out loud (optional)
What's Holding You Back In Your Writing Life: 6 Week Workshop (Harvardwood Discount!)
What's Holding You Back In Your Writing Life: 6 Week Workshop (Starts October 10th)
TV writer (TRACKER, STARGIRL, GOD FRIENDED ME, AMERICAN CRIME), producer, playwright, actor and certified creativity coach Steve Harper (ART '97) is offering an intensive 6 week Zoom workshop engineered to help you face the blocks you're having in your Hollywood writing life and craft solutions to face each challenge. Steve brings decades of expertise to help you zero in on the top issues coaching clients have brought him over the years: Difficulties with the Industry? Struggling with your attitude and perspective? Fighting to develop a writing practice? Hate networking? Unable to set goals? Face each of these areas through a variety of methods (brainstorming, journaling, exploring proven tools and tricks, and setting weekly benchmarks) in an encouraging atmosphere focused on accountability and solutions. Restore hope in your creative life. Space is Limited.
What's Holding You Back In Your Writing Life begins October 10th.
Harvardwood members get $50 off the $1000 price. Further details here or email coachsteve@yourcreativelife.com
"Steve beautifully modeled how to facilitate a room with grace, strength, flexibility, clarity and openness. I felt safe to play, speak up and try weird new things...I wholeheartedly recommend Steve's classes and coaching..." - Heidi Kraay, playwright
"Steve did a great job pointing out small changes in behavior or even in perception could lead to positive outcome and open possibilities." - Vincent Brown, WGA Award winning writer
Featured Job: Assistant to Senior Literary Manager and Producer
Job Description:
Anonymous Content is looking for an Assistant to a Senior Literary Manager and Producer; the candidate should have some film/tv experience and a genuine passion for being a part of our mission. At this time, this role is in-person five days per week.
Alumni Profile: Danielle Feinberg AB ‘96 (cinematographer)
by Laura Frustaci '21
Danielle Feinberg AB ‘96 is a cinematographer who has helped create acclaimed animated movies while mentoring young women to pursue careers in STEM. Having worked at Pixar Animation Studios since 1997, Feinberg now serves as visual effects supervisor, collaborating with a crew of more than 250 artists and technologists. She has applied her talents to many of Pixar’s best-loved films, including Oscar winners FINDING NEMO, WALL-E, THE INCREDIBLES, RATATOUILLE, BRAVE, and COCO as well as TOY STORY 2, MONSTERS INC., and TURNING RED.
While initially intending to pursue mechanical engineering at Harvard, Danielle Feinberg AB ‘96 quickly shifted her focus to computer science after discovering a passion for programming and its applications. But when she was introduced to Pixar's early short films from the late eighties and early nineties, she realized there existed a perfect way to blend her love of art and technology: animation.
Upon graduation, she moved to San Francisco for a job, but Danielle soon realized that while her summer position was a wonderful stepping stone, it was not what she wanted long term. When a contact let her know that Pixar was staffing up for their next film, Danielle sent in her application immediately, thus beginning her journey toward becoming the animation powerhouse that she is today.
The first Pixar film she worked on was A BUG’S LIFE, where she had the chance to contribute to lighting thanks to mentorship from the head of the lighting department. This early experience sparked her passion for lighting, leading her to next tackle modeling and lighting for MONSTERS, INC. and lighting on TOY STORY 2. “By that time I had enough experience lighting, and it was clear that it was my passion,” Danielle recalls. She then went on to direct the lighting for iconic films such as WALL-E, BRAVE, and COCO.
Once she had lighting down, Danielle started looking for a new challenge. “After three films, I [knew what I was] doing as a director of photography for lighting, so I applied for a different position. I feel like that's very Harvard of me,” Danielle laughs. Pixar was starting to work on TURNING RED, and Danielle put herself up to be the Visual Effects Supervisor. “No woman had done that job in twenty years,” Danielle says, “[but] the director really wanted a different look. So, my having a combination of creative and tech was kind of perfect.” Despite the challenges of the pandemic and balancing work while parenting newborn twins, Danielle, along with the first all-female leadership team in the history of Pixar, delivered the film TURNING RED both early and under budget.
But, how exactly does lighting work on an animated film? If there are no live actors, what’s getting lit? “If we don't put lights in, it actually comes out black,” Danielle laughs. “It’s just a black frame.” This is because the software calculates light placement, intensity, and angles in order to bring each scene to life during the rendering process. Without Danielle and the lighting team, your favorite Pixar films would be two hours of darkness instead of two hours of heartwarming characters and powerful, sometimes tear-jerking, storylines (for example, INSIDE OUT. And also UP. And we can’t forget COCO. Pretty much all of them).
“I fell in love with lighting because it's the moment where the world comes to life. It's a different moment for the animators, when they're seeing the characters. But for me, going from before lighting to lit is where I feel all the emotion. I could almost step through the screen into that world.” Danielle smiles. For her, lighting is a blend of composition, problem-solving, and "Christmas morning magic" when everything falls perfectly into place, making it a deeply special part of animated filmmaking. “It has distinct technical elements to it. There's a huge amount of strategy to it. How do you get [thousands of] shots through the pipeline when you're kind of the last department… And we can't miss our deadlines. Those don't change.” But that pressure and those high stakes only enhance the experience for Danielle as she works.
On top of those internal challenges, the industry itself is constantly evolving. Just like Danielle, Pixar itself has been breaking barriers with its films for decades. This started with her very first film, A BUG’S LIFE, where creating crowds of hundreds of ants was a major technical achievement for the time, especially for the “rudimentary” equipment they were using. Then with FINDING NEMO, there was another new challenge. The team has to ask themselves, “How do you animate underwater? No one's done animation underwater before,” Danielle says. But they figured it out. “And then you get to a movie like BRAVE,” Danielle continues, “Where she has long curly hair. That's a whole different physics problem… It took three years to figure it out and to get her hair to work.”
On top of her groundbreaking work at Pixar, Danielle has consistently been a mentor to young girls in STEM. Back in 2003, Danielle recalls how she reached out to a girls' math and science camp at Stanford, offering to help or come give a guest lecture. To her surprise, they scheduled her to teach three classes the following week. Armed with a VHS tape showing Pixar's animation process and two stuffed FINDING NEMO characters, Danielle gave her first lesson and it was a hit.
Over the next 20 years, Danielle became a regular speaker, using Pixar’s influence to inspire girls to pursue STEM and also to understand that they don’t have to choose between pursuing art or pursuing science. Her career is evidence that it’s possible to do both. Having been one of the few girls in her own science classes, Danielle works to encourage more girls to explore math and science. “I know what it feels like to sit in the classroom and be one of the only girls, and how hard that is, and how much harder it makes something that is already hard enough,” Danielle says. “You shouldn't have to fight through an extra layer just to study what you want. So this is what I could do to help prevent this.” And she’s been fighting the stigma ever since.
When asked what advice she has for those who want to follow in her footsteps, Danielle emphasizes the importance of staying open to different roles in the industry. “If you find what you really are passionate about, it's a very different experience,” she says. “So be open to the different directions that you could go.” Also, a demo reel is essential for creative roles. Additionally, she advises women not to let others push them into managerial roles, stressing that they belong in creative positions just as much as anyone else.
As a final thought, Danielle summarizes her career: “I am not easily dissuaded from something I'm fascinated by. I think that can be very important in life, because there's going to be plenty of people who want to tell you what you can and can't do, and you have to turn and look internally at that point. I have a dogged pursuit of the things that I'm interested in, I don't let anything dissuade me.”
Industry News
FilmNation COO Milan Popelka AB ’01 is Executive Producer on two critically-acclaimed features hitting US theaters this month: Oct. 18 will see the limited US theatrical release of Sean Baker’s ANORA, which screened to rave reviews at festivals including Telluride, Toronto, and Cannes, where it won the Palme D’Or. Milan also shepherded another Telluride and Toronto festival darling, Ed Berger’s CONCLAVE, starring Ralph Fiennes, Stanley Tucci, and John Lithgow AB ’67, which hits US theaters on October 25th.
The upcoming Peacock limited series DEVIL IN DISGUISE: JOHN WAYNE GACY has added new series regulars such as Gabriel Luna and Chris Sullivan. Noah Oppenheim AB ’00 and Liz Cole of NBC News Studios are executive producing. (MSN)
Dean Norris AB '85, who recurred as Randall Stabler last season, has been promoted to a series regular for the upcoming fifth season of LAW & ORDER: ORGANIZED CRIME, which is moving to Peacock after four seasons on NBC. (Deadline)
A sequel series of ONE TREE HILL is currently in the works at Netflix. Becky Hartman-Edwards (FIREFLY LANE, PARENTHOOD) AB ‘85 is attached to write and executive produce the series with Sophia Bush, Hilarie Burton, and Daneel Ackles. (Variety)
New head of film at Netflix Dan Lin MBA ‘99 has snapped up US rights to Pablo Larraín’s MARIA starring Angelina Jolie, which premiered in Venice. (ScreenDaily)
ABC is hitting the high seas with Joshua Jackson’s Max in Ryan Murphy’s latest medical drama DOCTOR ODYSSEY. The series is being executive produced by Ryan Murphy and Paris Barclay AB ’79. (TV Insider)
The vampires of TWILIGHT are set to return in a new animated series from Netflix. Netflix is adapting Stephanie Meyer’s MIDNIGHT SUN, a novel written from Edward Cullen’s POV. Marty Bowen AB ’91 will be executive producing. (HypeBeast)
Conan O’Brien AB ‘85 wins Emmy for Ireland episode of travel show featuring Ros na Rún. The Irish episode of his travel show sees him searching for Bono and attempting cúpla focal. (The Irish Times)
POKER FACE Season 2 is continuing to build out its guest cast with Cynthia Erivo, Margo Martindale, and BJ Novak AB ‘01 all joining the next installment of the Peacock series. (Variety)
Hulu half-hour comedy series CHAD POWERS has added Clayne Crawford (THE FINESTKIND), Xavier Mills (ANNE RICE’S INTERVIEW WITH THE VAMPIRE), Colton Ryan (POKER FACE), and Toby Huss (FATAL ATTRACTION) to its recurring cast. Luvh Rakhe AB ‘01 will executive produce and Tony Yacena will serve as director and executive producer. (Deadline)
Golden Globe nominee Griffin Dunne (AFTER HOURS) joins Darren Aronofsky’s AB ‘91 Sony crime thriller CAUGHT STEALING, starring Austin Butler. (Deadline)
Read here to learn more about SMILE 2’s release date, plot, cast, trailer, and everything else we know so far about Paramount’s horror sequel. Parker Finn wrote and directed SMILE 2, which Marty Bowen AB ‘91 produced. (Technadu)
Hulu’s HOW TO DIE ALONE created by and starring Natasha Rothwell, is a witty and thoughtful dramedy about loneliness, accountability and the courage to get out of one’s own way, especially when life hasn’t exactly gone as planned. Bashir Salahuddin AB ‘98 stars as Natasha Rothwell’s character’s older brother Brian. (Variety)
Welcome New Members
Harvardwood warmly welcomes all members who joined the organization last month (or those who migrated their membership over):
Bryan Li
Shirley Chen
Hannah Barbash-Taylor
Vince Eckert
David Albert
Ryan Cheng
Sarah Lewis
Franklin Leonard
Exclusive Q&A with Leyla Brittan AB '19 (author)
Leyla Brittan AB '19 is the author of the young adult novel ROS DEMIR IS NOT THE ONE (Holiday House 2024). Originally from Chappaqua, New York, she graduated from Harvard College in 2019 with an A.B. in English and a secondary in Computer Science, and she received an MFA in Creative Writing from the University of Wyoming in 2023. Her short fiction has appeared in PIGEON PAGES, 5X5, and THE HARVARD ADVOCATE, and has been nominated for BEST AMERICAN SHORT STORIES. In addition to writing fiction, she has worked as a technical writer, actor, and outdoor sports journalist, as well as in film and television production. You can find her online at leylabrittan.com or @leylabrittan.
Q: ROS DEMIR IS NOT THE ONE is your debut novel. What inspired you to tell this story, and what drew you to the YA genre in particular?
ROS DEMIR IS NOT THE ONE actually grew out of a short story that I wrote at Harvard, which was titled “Not a Romeo and Juliet Story”. That story, like ROS DEMIR, grappled with questions of multicultural heritage and identity, the roles of selfishness and selflessness in the act of loving someone, and the choices people have to make in their various relationships—both platonic and romantic.
I write both literary and young adult fiction, but YA literature has a special place in my heart because the period of my life when I was reading the most YA books was also the period of my life when I was most looking to art and literature to help me figure out how to be the type of person that I wanted to be. I think there’s something really powerful about writing for that age group.
Q: How do you hope young readers, especially those who might relate to Ros’s cultural background, will connect with her story?
It was central to my vision for the book that I write Ros as a messy, deeply imperfect teenager who makes mistakes. No one is perfect, and I think there’s a lot of value in writing characters who are still learning and growing—as most people are.
Additionally, like many kids who don’t often see their identities reflected in literature, as a young reader, I was really drawn to stories that in any way reflected my experiences with my identity. My mother grew up in Türkiye and my father grew up in Montana, and I spent many of my childhood vacations bouncing between the two. I saw myself in book protagonists with various family backgrounds, though never any quite the same as my own, who expressed a feeling of awkwardness in the space between cultures, and of searching for a way to define their identity and heritage. My hope is that many people who read this book see something of themselves in, and feel seen by, the various characters’ relationships to their family backgrounds and identities.
Q: The book is described as a "Turkish-American Romeo and Juliet remix." What elements or influences from the Shakespearean play did you utilize as you were writing, and where do you diverge from that influence into the remix?
The short story that the book is based on was inspired largely by the character Rosaline from ROMEO AND JULIET, and by the question “What would you do if you suspected that your seemingly perfect partner was actually fated to be with someone else?” The first draft of the book had a lot more in common with the play than the final version does, although the plot deviated significantly from the beginning—for one thing, I was writing a contemporary high school story about love and friendship, not a tragedy ending in multiple deaths. During the revision process, as the story came more and more into its own, it drifted further away from Shakespeare’s version, but it was important to me to keep some essential details the same, and to keep an eye toward the source material, leaving little allusions scattered throughout for readers to notice. For example, Aydın and Chloe, the Romeo and Juliet equivalents, have met well before the masquerade and the events of the book…but when they first met, they were thirteen years old, just like Juliet in the original play.
Q: Your background spans creative writing, screenwriting, playwriting, and journalism. How did these different disciplines shape your approach to writing this novel?
Although different writing disciplines often require different skill sets, I think that all of them are good practice for each other. I’ve always loved working across different artistic mediums, and I find that engaging in multiple at a time helps me to keep looking at each project with fresh and creative eyes.
My screenwriting and playwriting background has given me a strong sense for the shape of scenes, and how to make them feel self-contained and satisfying, as well as an awareness of pacing and concision. My journalism background, on the other hand, taught me about detail-oriented research (you’d be surprised at how much research can go into even an entirely fictional contemporary novel).
Q: You have a lot of experience performing on stage. Did your work as an actor and singer influence how you developed your characters or dialogue as you were writing?
My work as a performer and my work as a novelist absolutely inform each other. The core challenge of both, to me, is the same: to embody characters who are not yourself and to portray them in the most truthful, effective way to convey the story that you want to tell. I think this is one of the main reasons that I prefer to write in first person! I always want to dive as deeply into my protagonist’s mind as possible.
Additionally, I’ve always thought that my playwriting and acting experience gave me my ear for dialogue. It has always come easily to me, and it’s one of my favorite parts of writing fiction.
Q: How did your MFA experience at the University of Wyoming contribute to the development of this novel? Are there specific lessons or workshops that were particularly influential during your time there?
I drafted this novel the summer before I arrived at the University of Wyoming, and I revised it during my first semester there—but in secret! At the time, I was exclusively submitting literary short stories to my MFA workshops: I really wanted to keep my publishing life separate from what I saw as my academic literary life. During that first semester, I learned an incredible amount about craft and nurturing a writing practice from my professors and classmates. While I never submitted ROS DEMIR for workshop, I grew immensely as a writer during my time in the program, and I implemented the lessons I learned there in my revisions, as well as in the two additional novels that I wrote while I was in Wyoming.
Q: Ros’s character arc involves recognizing and confronting the impact of her actions on others. How important was it for you to explore themes of accountability and growth in her journey?
I’ve always been drawn to messy, imperfect characters and antiheroines. I think it’s much more compelling to read about characters who have a complicated relationship with morality, or who want to be good but have a lot to learn, than to read about characters who already have everything figured out. I knew that I wanted Ros to be a bit of a problem, but I also absolutely wanted her to have a redemption arc: ultimately, she’s a teenage girl who is still trying to figure herself out.
Q: What was the most challenging part of writing this story? Were there any scenes or characters that were particularly difficult to get right?
Bouncing off of my previous answer: I think the most challenging part of writing this book was balancing Ros’s messiness with her sympathetic characteristics! People tend to have very strong reactions to her character, one way or the other. I knew that I wanted her to be the villain of her own story to some extent (that characteristic was central to my original imagining of her), but I also wanted her to have enough vulnerability that readers could see pieces of themselves in her and sometimes sympathize with her actions.
Q: What's next for you? Are there any upcoming projects or themes you’re excited to explore in your future work?
Right now, I have a lot on my plate with the launch of ROS DEMIR IS NOT THE ONE, and it’s been hard to find the time to devote to my other projects! That said, I have two complete drafts of new books that I’m very excited to get back to revising. The first is a spooky, culty, witchy YA book set in Wyoming—I’ve been labeling its genre as Western gothic. I wrote it while I was living in Wyoming and thinking a lot about the ways that nature inexorably exerts its power over humanity, and how that can be terrifying as well as beautiful and awe-inducing. The second book is a literary novel about mythmaking and complex grief, which I originally wrote as my MFA thesis. There are some themes that wind their way into almost all of my projects (e.g. multicultural identity, performances of gender, and the ways we conceptualize the narratives of our own lives), and there are others that didn’t fit into the scope of ROS DEMIR that I’m really excited to dig into in these next books.
Bridging Science and Story: Communicating Complex Ideas through Media (Virtual)
Thursday 10/17 Free for all members
Join us for a lively discussion about blending science and media, navigating the academic publishing and science journalism worlds, and experiences and tips for turning research into stories that stick.
Getting it Right: Portrayals of Kids, Adolescence, and Puberty in Media and Entertainment (Virtual)
Tuesday 11/12 Free for all members
Join Harvardwood and the Center for Scholars and Storytellers for an engaging discussion on how kids, adolescence, and puberty are portrayed in media and entertainment with three renowned experts: Dr. Cara Natterson AB '92, Vanessa Kroll Bennett, and Dr. Yalda T. Uhls.
WE LIVE IN CAIRO with Talkback
Wednesday 11/13
Come attend a performance of WE LIVE IN CAIRO, featuring vocal arrangement by supervisor Harvard alum Madeline Benson AB '14.
Veterans Day Pitch Panel (Virtual)
Wednesday 11/13 Free for all members
This Veterans Day, join Harvardwood and the Harvard Veterans Alumni Organization for an inspiring Pitch Panel where selected veterans will have the unique opportunity to present their stories to Harvardwood staff and industry VIPs.
Last Month at Harvardwood
Last Month at Harvardwood, we talked books with Alana B. Lytle AB '11 & Carleton Eastlake JD '72, gained strength in the Strengths for Writers Masterclass, chatted by the fire with Mable Chan GSA '92, AM '93, thought about Race, Media, and Justice: How Images Shape Our World, with Sarah Lewis AB '01 and Franklin Leonard AB '00, did a Harvardwood 101 Info Session, learned about Grey’s Anatomy to Abbott Elementary: Writing Family-Work Stories in TV and Film and much more!
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
Become a Harvardwood member! We work hard to create programming that you, the membership, would like to be engaged with. Please consider joining Harvardwood and becoming an active member of our arts, media, and entertainment community!
DISCLAIMER
Harvardwood does not represent or endorse the accuracy or reliability of any of the information, content or advertisements (collectively "Materials") contained on, distributed through, or linked, downloaded or accessed from any of the services contained in this e-mail. You hereby acknowledge that any reliance upon any Materials shall be at your sole risk. The materials are provided by Harvardwood on an "AS IS" basis, and Harvardwood expressly disclaims any and all warranties, express or implied.
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