How to Capture the Attention of a Showrunner or Manager with your TV Writing Samples

Hosted by Spencer Robinson

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Spencer Robinson

Webinar hosted by: Spencer Robinson

Manager at Art/Work Entertainment

Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. Full Bio »

Webinar Summary

Television today has changed. There’s more of it, thanks to streaming services that make binge worthy television available anytime, anywhere. According to stats recently released by Netflix, shows like BRIDGERTON and THE WITCHER pulled in over 75 million views in 20201. That’s a lot of television. A lot of television means more writer’s rooms. And more writer’s rooms means more opportunity to get staffed. But to find representation and take a seat at the table, you need more than a killer personality. You need a solid portfolio brimming with strong writing samples. Showrunners are looking for a portfolio that demonstrates your ability to tell a story. There’s no time like the present to prep a portfolio with hot samples, cool writing, and even cooler storylines.

Showrunners need examples from you to make decisions on who to bring in the room. As an unrepresented writer, you have to demonstrate to them that you’re the one. And to do this, a series of writing samples, known as a portfolio, is a surefire way to show off your ability. You need to convince showrunners to bring you on board. If your writing samples lack luster or you don’t know where your story is headed in future seasons, conversations with managers or showrunners could be short lived. You could miss out on opportunities because your script wasn’t up to par, or your original idea wasn’t original at all. Let's make sure that never happens.

Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix.

Spencer will dive deep into the kinds of TV samples writer’s should have ready, as well as exactly what managers and showrunners are looking for as they read through them. He will talk about the kinds of scripts your portfolio needs so that you shine like the crazy diamond you are. Certain elements of your script should stand out. Take useful notes as Spencer talks about these elements and helps attendees better understand the importance of solid and saleable characters. And then sit back and take in the golden nuggets he delivers on what managers and showrunners look for in a writer. If you dream of being in a writer’s room, this webinar was made for you.

 

Praise for Spencer's Previous Stage 32 Webinar

 

"Spencer was awesome! Super informative and detail driven - providing great insights. Packed so much into a short amount of time which I'm super grateful for!"

-Eric C.

 

"Spencer Robinson has high energy and packs a ton of information in his lecture. Most importantly Spencer gives realistic advice while encouraging writers to move forward fully informed of the terrain."

-Oweeda N.

 

"Spencer opened my eyes to how the TV world works with broadcast and streaming. What a great crash course!"

-Ricki L.

 

What You'll Learn

  • What Is Your Goal
    • Do you want to be staffed in a room?
    • Do you want to package and sell your pilot?
  • Types of Sample Scripts
    • Original pilot
    • Feature spec
    • Specs
    • Based on IP
  • Elements of a Script that Will Help It Stand Out
    • How many characters should be in your spec?
    • What types of characters should your spec include?
    • How similar should it be to the kind of work you are trying to get?
    • Ideal lengths
    • How many samples should you have ready?
  • What is a Manager Looking for When They Read Your Work?
    • Specs
    • Original pilots
  • What Is A Showrunner Looking for When They Read Your Work?
    • What positions are they considering when they are reading this?
    • Why your script vs. an established writer?
    • Can they work with you in a writers’ room?
  • Q&A with Spencer

About Your Instructor

Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix.

FAQs

Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute broadcasts that take place online using a designated software program from Stage 32.

Q: Do I have to be located in a specific location?
A: No, you can participate from the comfort of your own home using your personal computer! If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar.

Q: What are the system requirements?
A: You will need to meet the following system requirements in order to run the webinar software: Windows 7 or later Mac OS X 10.9 (Mavericks) or later.
If you have Windows XP, Windows Vista and Mac OS X 10.8 (Mountain Lion): The webinar software does not support these operating systems. If you are running one of those operating systems, please upgrade now in order to be able to view a live webinar. Upgrade your Windows computer / Upgrade your Mac computer

Q: What if I cannot attend the live webinar?
A: If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar. If you cannot attend a live webinar and purchase an On-Demand webinar, you will have access to the entire recorded broadcast, including the Q&A.

Q: Will I have access to the webinar afterward to rewatch?
A: Yes! After the purchase of a live or On-Demand webinar, you will have on-demand access to the recording, which you can view as many times as you'd like for a whole year!

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If you have a generic question about Stage 32 education you can take a look at our frequently asked questions section on our help page, or feel free to contact support with any other inquiries you might have.

Other education that may be of interest to you:

Working Writers Lab: Write a TV Drama Pilot - 8-Week Intensive (January 2017)

PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your drama pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Pitch Docs, Character This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of drama pilots and how they differ from network to network. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pilot outline and start work on your bible. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given.   Payment plans are available - please contact edu@stage32.com for more information.    

Stage 32 Screenwriting Lab: Write a Comedy TV Pilot in 6 Weeks - From Concept to Completed Script

**Only 15 Spots Available - 4 Spots Remain! ** Comedy is hot right now and here to stay. We're seeing growing popularity of all kinds of diverse comedic storytelling and perspectives, like HBO's INSECURE, ABC's BLACK-ISH, FX's WHAT WE DO IN THE SHADOWS, Hulu's RAMY, and Amazon's FLEABAG. It seems like every day a new comedy series is announced in the trades, and the signs point to this trend only continuing. So are you ready to write the next show that's going to keep us all laughing? The opportunities may be extra plentiful right now, but if you want to write for comedy TV you need to prove that you have the chops, and to do that, you better come armed with a great pilot script sample. Something that shows that you have what it takes; something that shows that you understand the structure and craft that goes into a good teleplay; and something that shows off your own unique voice and sense of humor. This is your calling card, your way in, the piece of material that will fire you off the launch pad. Let us give you the guidance to make your comedy pilot as good as it can be and help you springboard your writing career. Spencer Robinson is a literary manager at Art/Work Entertainment who has been selling and staffing his comedy clients on the industry's leading series for years, including shows on Amazon, HBO Max and Jason Bateman's production company Aggregate just this year. He's also had clients work for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. Spencer is one of the most sought-after literary managers in the business for nearly two decades and is one of Stage 32's most popular and in demand educators. In this lab, you will be working directly with Spencer in a virtual class setting and also during one-on-one online sessions to create a fantastic, market-ready comedy pilot. Whether you want to write a single-cam or multi-cam pilot or want to write for late night TV, Spencer is here to help you. He will guide you through creating engaging characters, building your world, perfecting your structure, constructing an outline and, finally, writing the three acts of your pilot. If you already have a concept, or even a completed pilot, Spencer will use the same tools to help you hone and sharpen your material.   Throughout the course of this exclusive online lab, you will have direct access to Spencer as a mentor by email and via video conferencing as you write your pilot.   WHAT TO EXPECT By the end of this 6-week writing lab, you will have a completed comedy television pilot script ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Skype meetings with Spencer. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn".   PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with a manager and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at edu@stage32.com for more information This lab is limited to 15 people  - 4 spots remain! This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot. Praise for Spencer's previous Stage 32 Writing Labs:   "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N. (now signed to Fineprint Literary Management after crafting her pilot with Spencer)   "Spencer was amazing!" - Summer K.   "I had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A.   "Spencer's teaching style is the best! His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer!" - Armando O.

Stage 32 Screenwriting Lab: Write a Drama TV Pilot in 8 Weeks - From Concept to Completed Script

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And the impact of COVID-19 is even having an impact that could benefit writers all over the world as many shows are planning to implement virtual writer’s rooms. In short, there has never been a better time to write for TV. Now it’s just a matter of breaking in. The opportunities are plentiful and the prospects have never been more exciting, but if you want to write dramatic television you need to prove that you have the chops, and to do that, you better come armed with a great pilot script sample. Something that shows that you have what it takes; something that shows that you understand the structure and craft that goes into a good teleplay; and something that shows off your own unique voice and sensibility. This is your calling card, your way in, the piece of material that will fire you off the launch pad. The intention of this lab is to help you create that piece of material that stands out, gets you the right meetings, and, ultimately, gets you representation, meetings with decision-makers, and/or a coveted seat in a writer’s room. Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. Spencer has taught numerous webinars, classes and writing labs for Stage 32 and remains one of our most popular and in demand educators. In this lab, he will be working directly with you in a class setting and also during one-on-one sessions with the goal of helping you write a fantastic, market-ready pilot. To do so, Spencer will guide you through picking a concept, creating engaging characters, perfecting your structure, constructing an outline and, finally, writing your pilot. If you already have a concept or even a completed pilot, Spencer will use the same tools to help you hone and sharpen your material. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a completed drama television pilot script ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Skype meetings with Spencer. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn".   PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with an executive and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at edu@stage32.com for more information This lab is limited to 10 people ***only 1 spot remains*** This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot.   Praise from Spencer's previous Stage 32 webinars:   "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N.   "Spencer was amazing!" - Summer K.   "Enjoyed the class. Spencer was a good teacher and I appreciated his insight!" - Stephen C.   "Had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A.   "Spencer's teaching style is the best! His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer!" - Armando O.

The Tools you Need to Get Staffed or Sell your Script

Comes with invaluable handouts and downloads  including example pitch documents, structure diagrams, and up-to-date information on production companies and studios to reach out to   Writers looking to break into the industry often don’t know where to begin. Because of this, they sometimes take the wrong approach when it comes to looking for a job writing for TV or film. With so many fresh shows emerging on television and various streaming networks, more and more writers' rooms are looking to be staffed. Films are also emerging on different platforms, opening up the demand for polished writers to produce solid content for producers and directors. The opportunity to start a career in writing is more attainable than ever, but if an emerging writer attempts to navigate the writing industry without understanding best practices, they may find themselves at a loss, and ultimately give up. This may be where you find yourself. Uncertain and unconnected. The good news is, uncertainty is temporary. With the right strategy and the proper written tools, you’re just a few steps away from finding work writing for television or film. The one thing you’re missing is guidance. Landing a writing job takes more than just passing along great writing samples. It also requires strong communication skills, a hunger to succeed, and a willingness to do the work. It's absolutely within your grasp to accomplish all of these skills and more and set yourself up for a rewarding and long-lasting career writing for film and TV. Literary manager Spencer Robinson can help you get there. Spencer is literary manager at respected management company Art/Work Entertainment who has been selling and staffing his clients on the industry's leading series for years, including shows on Amazon, HBO Max and Jason Bateman's production company Aggregate just this year. He's also had clients work for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. Spencer is one of the most sought-after literary managers in the business for nearly two decades and is one of Stage 32's most popular and in-demand educators. In this 4-week intensive class, Spencer will go in-depth on the steps you should be taking to find work as a writer in film or TV. Whether you're interested in selling your own TV show or film, or if you want to join a writers' room, there are specific steps you need to be taking aside from simply writing well, and Spencer will break it all down for you. Spencer will provide you with the proper approach when it comes to talking with reps, managers, agents, attorneys, showrunners and execs. What’s more, he’ll share his powerful pitching knowledge for writers looking to sell their show idea or screenplay. You’ll leave this four week class understanding what it takes to write on assignment, what kinds of written tools you should have prepared prior to meetings, and the general etiquette you should come to the table with so you can land a job as a writer in the industry.   Plus! Along the way Spencer will provide exclusive and helpful downloads and resources you can take back to your own projects including: The real STRANGER THINGS pitch deck The real ADVENTURE TIME pitch deck Story Structure Diagrams Sitcom Chart 2021 Facts on Pacts TV 2021 Facts on Pacts Film     Praise for Spencer's Previous Stage 32 Classes   "Spencer was amazing!" - Summer K.   "I had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A.   "Spencer's teaching style is the best! His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer!" - Armando O.

What a Talent Manager Looks for in An Actor

Finding the right manager is as important as honing your craft as an actor. Your manager is an essential teammate for helping you find opportunities, get you in rooms to audition and guide your career as an artist. But, how do you know if you're representation-ready and how do you know what to expect (or what questions to ask) when you're given the opportunity to be repped?  With so many actors vying for the chance to work in film, TV and digital it's harder than ever to stand out.. Assuring that you are bringing your "A" game to every audition and situation, understanding what you can do to improve, and knowing which auditions are right for you are key components toward becoming an actor who works time and time again. Attracting and securing the right manager can help you do just that. Whether you're on the search for your first manager or stuck in a manager/talent relationship that you don't think is best for your career, it's important to know what steps you can take to assure that you secure representation that works in your best interest and as a vital member of your team. Spencer Robinson has been a leading talent manager of actors for almost 2 decades. His clients have been in films directed by Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski, and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, TBS and more. Spencer’s clients have also recurred on series for Freeform, TNT, AMC, Showtime and many more. He reps everyone from actors who are just starting out to acting veterans with 30+ years of credits. He also represents many multi-hyphenates who are both writers and performers and understands what makes a successful talent-manager relationship. Spencer will teach you everything you need to know about securing meaningful representation. He'll cover how to identify the right manager for your career, how to approach that manager, what questions to ask, how to grow your relationship and how you can, as a team, form a plan for a long career in the business. You'll learn about the do's and don'ts of blind submissions, how to stand out in the sea of requests a manager gets daily, and how to best impress potential representation. Spencer will also provide tips on the audition process including selecting the right auditions and understanding which roles are best suited for you so that you're not wasting time, energy and your passion on dead ends.  This is a blueprint for you to take control of your acting career and to help you sustain a career in the business.   Praise for Spencer's Stage 32 Webinar   "I highly recommend taking a course with Spencer. He is one of the most knowledgeable and informed people I've met. His enthusiasm for artists made me feel at ease. Spencer's ability to relate with artists made the material instantly click with me. I will not hesitate to enroll in another course with Stage 32 and Spencer."  - Devin H.   "I loved everything about this webinar! Spencer was so helpful with everything. I was able to apply everything he said directly to my career. It was definitely a great experience and can’t wait to keep improving with everything I learned. Thank you Spencer and Stage 32!" - Krista C.

TV Drama Pilot & Bible Writing Lab - 8 Weeks from Concept to Script

PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your drama pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Pitch Docs, Character This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of drama pilots and how they differ from network to network. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pilot outline and start work on your bible. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given.   Payment plans are available - please contact edu@stage32.com for more information.

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