It's a new and unique way to work with a professional screenwriter.

In a writers' room, you reap the benefits of working with people who have years of experience. With a benevolent showrunner, everyone pitches and everyone gets instant feedback on their ideas and their scripts. It's a proven, efficient way to learn your craft and get better at it.

It's not pre-recorded. It's not run by a company and it's most certainly not conjured up by some AI tool that says it will give you a celebrity-studded career.  

You'll participate in real-time coaching with Dawn. You'll submit writing from your project whether it's an outline, logline, first draft, act break, etc. Each week, she'll take your work and your questions then walk through fixes, solutions or options. 

Because you're worth it.
 
This is your career we're talking about. If you've broken in, congrats - and keep learning. You're creating a legacy and you want to keep rising through the ranks.
 
If you're a pre-WGA writer, welcome - and keep learning so that you become that sought-after writer with a distinctive voice.
 
Now. Compare the cost of having a professional screenwriter in real-time to the expensive TV and film courses taught by people who have NEVER BEEN IN A WRITERS ROOM, let alone in dozens of rooms, on sound stages, in pitch meetings and executives offices, for decades covering hundreds of episodes, pitches and rewrites. 
 
Dawn has spoken at film festivals around the country like the Austin Film Festival, is a guest lecturer at NYU Tisch, UCLA, UTLA and others, and was a Disney/ABC Writers Fellow. She has won numerous scriptwriting awards throughout her career. 
 
She is an annual Emmy judge with the Television Academy,  and all this to say, she actually, truly wants to see you do well.
 
That's why.

Yes and no.
 
Yes if you're a working writer who wants accountability, deadlines and a swift kick in the ass. 
 
Yes if you're experienced and want feedback on your current project. 
 
Yes if you're an emerging writer who wants a look inside a writers' room. There is a hierarchy. Story breaking and script rewrites are run by showrunners and executive producers, not development executives or script consultants. 
 
Yes if you're an author or content creator and you want to see how the arc of a story is built, how to collaborate, and how to improve your writing on the spot.
 
No if you're not ready to commit. But our question for you is, "when is now a good time?"
 
No if it's too expensive. Understood. Dawn is rolling out as much free material as she can. In the meantime, we challenge you to rethink your relationship with money from "I can't afford it" to "How can I afford it?"  

Dawn is 104 years old.
 
During World War II, Dawn was requested by President Roosevelt to entertain the troops. Led to believe she'd be performing sexual acts for any two-bit NCO with a chocolate bar, she was bitterly disappointed to find she was only required to tap dance.
 
The Allied Powers won, no thanks to her.
 
She drifted aimlessly to Chicago during its jazz heyday. The 1950s. A heady time. Bandleader Barney Rapp signed her to front his band, The Jazznots. She was renamed Doris Day until slapped with a lawsuit by
the alleged girl next door herself.
 
The 1960s and 70s were perhaps a psychedelic blur. We don't know. We may never know.
 
By the 1990s, Dawn was ready to try her hand at screenwriting. She was diligent and tortured and unpleasant to be around but it worked. She broke in, succeeded, failed, broke in again, shot to the top, plummeted to the bottom, broke in again, and kept writing.
 
In the Aughts and 10s, she did what few writers were able to do. Dawn made the transition from working on comedy series to selling and working on dramas, mysteries and films. She credits her nimbleness to dodging trolley cars back when she was a tiny street urchin.
 
Today, Dawn teeters around her vast estate in the Hudson Valley occasionally padding into her four-story library where she keeps her laptop and a peahen named Doris.

Dawn is not an oracle. If she says she is, don't believe her.
 
She is, however, experienced in working consistently as a professional scriptwriter in TV and film and she wants you to take it seriously. Breaking in is hard. "Making it" is harder still.
 
You do not have to have connections, but you do have to create them.
 
You do not have to be an Ivy League grad but you do have to be intelligent, disciplined and serious as fuck, even if you're writing comedy.
 
You do not need to know the intricacies of how the business has changed, but you do need to know what the changes mean for you, your writing and your opportunities.