FINISH Your
Feature Screenplay
in 13 Weeks


A guided daily writing room on Zoom for screenwriters. Show up, write for 50 focused minutes, leave with pages.


May 4 – July 30, 2026

Mon–Thu
2:30PM PST or 5:30PM PST


Early Bird Pricing: $279
through April 15th

2:30 PM.

You open Zoom.

The room's already filling up.

A few cameras on, a few off. Nobody's talking yet, but there’s light music with a steady beat.

We open with a few minutes of settling in:

A deep breath, some light stretching that soothes your chronic tech neck and tight lower back.

You’re feeling tired today, you barely made it. The mini lecture starts with a quote. It might seem silly, but it helps. You feel better.

The tailored prompts are useful. You take stock even if you don’t choose to use one today. You’ll definitely think about them as you continue your practice.

3 more deep breaths as a group. You’re zeroing in. You’re letting go of distractions. You’re entering flow.

Then the clock begins to tick down.

For the next 50 minutes, you write. No one's reading over your shoulder. No one's going to ask you to share. You're in a room full of writers, all working on their own pages. The focus is contagious.

The session ends. You stay and chat after for a few minutes. You learn something new.

Then you log what you wrote - it’s more than you thought you’d get done. You close the laptop. And you go about your evening relaxed and confident, knowing you did the thing you said you were going to do.

That's the whole Sprint.

Every session.

For 13 weeks.

You’re Talented

That’s not the issue.


You’re struggling because nothing in your life is structured to protect your writing.

The Feature Drafting Sprint fixes that.

Thirteen weeks of daily sessions (well, almost daily - we take Friday's off), a consistent slot in your calendar, and an external deadline that isn't yours alone to keep.

You show up. You write. And by July 30, you have a finished feature screenplay.

It's not magic. It's simple. And it works.

(You'll be surprised at how much you can get done in just an hour)

Before you commit, let's be honest about the alternatives

  • Some writers can! If you've built a daily writing practice that survives bad weeks, travel, deadlines, and the days where you'd rather do literally anything else, you don't need this. Protect what's working.

    For everyone else: the issue isn't (100%) motivation. It's that writing alone means you make the decision to write every single day, and every day that decision competes with everything else. There's no cost to skipping. No one notices if you don't open the document. You're relying on willpower to do a job that willpower isn't built for. Willpower is a short-term resource. A daily practice is a long-term project. The Sprint doesn't give you more willpower. It makes the decision once, puts it on the calendar, and adds a social cost to not showing up. That's a structurally different setup than anything you can build alone.

  • If you've been in a good writing group, you know how valuable a room full of smart writers can be. Nothing wrong with that model.

    But most of the time when I hear about writing groups in the wild, they're full of issues, so I get why you might feel like writing groups don't work for you.

    Writing groups are frequently organized around feedback, and feedback changes the room. It shifts you from generating to evaluating. Over time, the internal critic starts showing up while you draft. You write with the group's opinions in your head before the group has even read a word. That's not a flaw in critique groups. It's just what happens when the same space is used for both creating and evaluating.

    The Sprint separates those completely. Nobody reads your work. Nobody gives notes. The room is for producing pages. Evaluation happens after the draft exists, through coverage, which is a separate service with a separate process. That order matters.

    Here's the other thing most writing groups get wrong: they're peer-run. There's no external structure holding the group together. When one person drops off, then another, the whole thing unravels. The Sprint is professionally run. Kate's in the room every session. The clock runs whether you feel like it or not.

  • That's a good instinct. It means you already know the writing needs protected space. Most people don't even get that far.

    And if you do sign up, you SHOULD block out this time in your calendar!

    When it's just you, the problem is a calendar block lives inside the same system as everything else competing for your time. It's next to your dentist appointment, your work calls, and your grocery run. And when something "more urgent" comes up, the writing block is the easiest thing to move because nothing happens if you skip it.

    No one notices, right? There aren’t really any consequences (other than a sad little pit of shame in your gut). An unwitnessed commitment carries almost no psychological weight.

    A Sprint session exists outside a private system. It's not a rectangle on your calendar you negotiate with. It's a room that's open at 2:30 (and/or 5:30) whether you're there or not, with other writers who WILL be progress already in it.

  • Fair question. On the surface, you're paying to sit on Zoom and write silently. You could do that for free.

    What you're actually paying for is the architecture around the writing. A professional who's designed the warm-up sequence to move you from distracted to focused in under ten minutes. Craft prompts that sharpen your skills even on days you don't feel like learning. A daily rhythm you don't have to build or maintain yourself. An accountability system with check-ins and logs that turns 13 weeks of writing into visible, trackable progress. And a development consultant in the room who's available for craft questions, structural problems, and the specific kind of being-stuck that only another working writer understands.

    You're not paying for the Zoom link. You're paying for the structure that makes the writing actually happen, consistently, for 13 weeks.

A 13-week creative process

guided every step of the way.

Just like there is a scientific method, there is also a creative process. After living an entire lifetime operating within one creative process or another, I’ve been able to map this down into a consistent system, without it feeling like a cage.

This sprint is built around that process. Every week has a focus. Every day has three tailored prompts to support your work: one to help you creatively recover, one to wedge you free when you’re feeling stuck, and one to sharpen your craft. With this support, You'll never stare at a blank page wondering what to do next.

  • You're filling the well. Character work, world-building, tonal exploration, figuring out what this story wants to be before you try to structure it. The daily Sparks prompts are built for this phase: freewriting exercises to clear the noise, craft prompts to get you thinking about story at the molecular level, and project-specific prompts that feed directly into your screenplay. You might come in with 60 pages already drafted. You might come in with a title and a feeling. Both work. This week is about getting everything out of your head and onto paper.

  • The brainstorming continues, but now you're looking for the architecture underneath it. What's the engine of your story? Where are your act breaks? What does your protagonist actually want, and what's stopping them from getting it? The Sparks this week are geared toward structural thinking. You're building the frame that the rest of the draft hangs on.

  • You take everything from the first two weeks and shape it into a working outline. The kind that gives you direction without making you feel like you're filling in a template. A good outline makes the drafting phase faster, less scary, and a lot more fun. By the end of this week, you know where your story is going. You don't have to know every scene. You have to know enough to start.

  • Your outline becomes a document in your screenwriting software. Scene headers, sequences, the skeleton of your screenplay. This is the bridge between planning and writing. By Friday, you're ready to draft.

  • Five pages a day. That sounds like a lot. It's not, because you spent three weeks brainstorming, structuring, and outlining before you got here. You know your characters. You know your world. You know where the story goes. The vomit draft is supposed to be messy. It's supposed to have bad dialogue and scenes that don't quite work and moments where you write [FIX THIS LATER] and keep going. The daily Sparks prompts shift in this phase: they're designed to keep you moving forward, solve specific craft problems mid-draft, and keep your creative muscles warm even on the days the writing feels like pulling teeth.

  • You've finished your vomit draft. You're too close to it. You've been living inside this story for ten weeks and you can't tell what's working anymore. This is where you can hand your pages to Kate for Vomit Draft Coverage: 60-90 minutes of development-level feedback on your raw draft. What's alive in the story. Where the structure is holding. What to prioritize in the edit. This service is only available to Sprint participants. It's designed to give you a map before you go back in for revisions.

  • You go back into your draft knowing what's working and what needs attention. Three weeks of focused revision with the same daily structure, the same room, the same writers alongside you. The Sparks in this phase are revision-oriented: tightening dialogue, strengthening scene transitions, cutting what doesn't serve the story. You're not guessing. You're building.

  • If you purchased the Sprint + Deep Dive Bundle, you'll have four additional weeks after the Sprint ends to polish your draft before submitting it for Kate's full professional coverage. That's a comprehensive, scene-by-scene development analysis of your completed screenplay. One more deadline. One more external set of eyes. The full arc: brainstorm, draft, revise, and get professional feedback on the finished product.

Is this the right fit for you?

Let’s be clear: This is not for everyone.

This is for you if:

  • You have a feature screenplay idea (or a partial draft) and you want a finished draft by July 30.

  • You’re already a professional screenwriter, but you’ve been telling your manager you’ll have that feature done next month for the last 2 years

  • You work in the industry and want to write your own material on the side:
    Ideal for Directors, Editors, AD’s, DP’s, Assistants, etc. who generally know what they’re doing but would like additional support.

  • You've taken screenwriting classes or programs before but it’s been a while since you’ve finished something

  • You want structure and community without having to show your work to a group.

  • You can commit to showing up most days, even when the writing is hard.

This is not for you if:

  • You’ve never worked with screenplays before - we will not be reviewing ultra basics

  • You need times other than Mon-Thu, 2:30 PM or 5:30 PM Pacific. (It's possible that we'll add an additional session depending on demand, but unlikely)

  • You want a self-paced experience you can do on your own schedule. (This is live. The room is the point. Though you may be interested in 1:1 coaching)

  • You already have a finished draft and need professional feedback. (Check out my coverage offerings here)

  • You’re looking to write a novel

  • You’re looking for hand holding beyond the group experience, including the Q&A (you may be interested in 1:1 coaching)

  • You’re not open to bringing a spirit of positivity and support

  • You can’t show up to at least 2-3 sessions a week

"Can't I just do this on my own?"

You can! And, lots of writers do.

The ones who finish screenplays alone tend to have an almost militaristic relationship with routine. They protect their writing time like it's sacred, and nothing gets in the way. They’ve prioritized and found solutions that support their endeavors. And that’s awesome!

If you already have a great routine and are regularly making progress on your own, this is not for you :)

Maybe! Maybe you don’t need this.

However, if sitting down to write on your own was working, you probably wouldn't be reading this page…

But, let's take the question seriously.

Writing alone means you're the one who sets the schedule, keeps the schedule, and decides when to break the schedule.

On good days, that works. On the days when you're tired, distracted, or feeling stuck, it gets harder.

Life can be chaotic. Things pop up. It can be difficult to prioritize your writing, especially if you’re already in the habit of not.

So if you’re the only one who cares if you show up… what happens when you don’t?

When you fall off the wagon, who’s there to help you back up?

Writing on your own relies exclusively on willpower, and willpower is a finite resource. It runs out.

The Sprint doesn't replace your discipline (you still have to show up), but it lightens the load significantly.

The every-day draining decisions are made for you. The time is set. The room only runs for a brief period. Someone is expecting you. The decision to write is made once, rather than rehashed every single day.

"I've done writing groups.
They don't work for me."

Good writing groups can be great!

A room full of smart readers giving you sharp notes on your pages is valuable.

There's a reason the model has survived for decades.

Most writing groups are organized around critique, which can be… difficult. There’s so much that goes into quality critique and more often than not it seems to fall to some bitter writer ripping someone else to shreds for their own ego rather than taking a constructive supportive version designed to empower growth.

That changes the room and it changes you. You start drafting with the group in mind. You self-edit before you've finished generating. You're performing and producing at the same time, and those are fundamentally different cognitive states. You can't be in both at once.

The Sprint is not focused on critique. The room is generative and troubleshooting only.
You write, maybe you chat about it and learn something from the other writers.

That's it. The evaluation comes later, after the draft exists, which is the only order that actually works.

"I'll just block time on my calendar."

First off: GOOD! Please do that, it’s a great strategy.

A calendar block is a promise you make to yourself with no witnesses. There's no social cost to breaking it. And you already know this, because you've moved the block before. Not because you don't care about writing. Because an unwitnessed commitment carries almost no psychological weight. That's not a character flaw. That's just how accountability works in human beings.

A Sprint session has witnesses. Other writers. A clock. A log. You don't need more willpower. You need a structure where your existing willpower is enough.

That changes the room and it changes you. You start drafting with the group in mind. You self-edit before you've finished generating. You're performing and producing at the same time, and those are fundamentally different cognitive states. You can't be in both at once.

The Sprint is not focused on critique. The room is generative and troubleshooting only.
You write, maybe you chat about it and learn something from the other writers.

That's it. The evaluation comes later, after the draft exists, which is the only order that actually works.

You’ve had ideas for months, maybe years…

but you still don’t have a finished piece you can share.

You've opened Final Draft, stared at the cursor, written ten pages, deleted seven, closed the laptop, and told yourself you'd get back to it tomorrow.

Tomorrow turned into next week.

Next week turned into "when things slow down."

But, things never slowed down.

You’re talented.

You don’t need another screenwriting book.

You know you have it in you if you could just show up and do it.

Former Customer

“Every detail was thoughtfully executed. We're thrilled with the outcome.”

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