Record your feedback notes in your Project documentation. Clarify as best you can the difference between strong direction that is vital to your work's viability, vs suggestions and offerings to be interpreted flexibly into your vision. This skill is vital for collaborative practise and getting your work approved by stakeholders such as employers, directors, producers, investors or funding bodies. Implement your feedback, and create improved versions, ready for review, every week. 

Collect additional feedback detail notes via email, Slack, meetings, voice or video calls. Ensure you have both qualified feedback (lecturer/supervisor) and peer feedback from your class colleagues. 

Rehearse your spoken 1-2-minute pitch performance so that your next delivery will be stronger, more entertaining, and convincing. Investigate video/audio reference of verbal storytelling and pitching - listen to the style and rhythm of speech, the emphasis words, the acting of the speaker, and mimic the presentation style. Only when your content is verbally powerful, emotive and concise can we consider extending the time restriction for spoken pitches, if the content and pacing of your spoken delivery genuinely justifies more time. If you waffle around and speak flatly, there is less interest in further listening. Be lively. 

There will be 1 to 3 rounds of verbal pitching to the entire class during each Project. You also be doing script readings (table reads), in groups. Speaking your work requires that you speak with emotive resonance. In addition to entertaining narrative action description, you must use character performance, and entertaining descriptions of emotional changes and acting. You must learn to create the most emotional change with the fewest words. While it isn't a public speaking or an acting unit, you do need to develop sufficient performance and pitching skill for your story to be expressed quickly, using confident delivery. This is a necessary part of collaborative creativity, and for seeking a funding greenlight. You will go through this practise again and again in your career. So please get used to it. Rehearse, rehearse, rehearse!  

Rewrite all your work over and over while rehearsing, watching and listening to yourself and to A/V reference, until the writing is well spoken. 

People with soft voices, that's okay too, we will adjust for you and move closer together, because we don't have time in class to work on acting skills. However, if you want to improve your delivery, you should! Visit a big empty park or wide open space and practise shouting your pitch across the field. Just like you're a player in a soccer game, shouting to other players. Or a confident kindergarten teacher rounding up a gang of unruly 5-year-olds. By imagining or remembering such a routine situation in which you would assert yourself, you can confidently assert your characters and story. It may feel unfamiliar or too loud, but it simply works. 

Watch

Joe Ranft storyboard Pitch for Toy Story soldier scene, 42 seconds. Listen to the voice energy - it's an acted performance, and it sells the scene. 

Complete all your writing and documentation tasks, as detailed in the pages for Weeks 1 and 2. Ensure you collect only the finest reference - very highly-regarded or award-winning works - for your characters, story, genre and style, put these into your Reference Doc, and study them, thoroughly. 

Make sure at least some of your main references for both films and writing closely match your screen duration and budget. Stay within your scope. 

Please mimic an awarded/accomplished screenwriter's writing style, carefully. Do not attempt to simply work out of your head, just "loosely following reference". This is not good enough, because there are insufficient hours in-or-outside classtime for me to correct your work line by line. You're a student, not a master, so be humble, and mimic a master's writing style until you're a pro. That's what students do. This means your work is already based in proven practise, accumulated wisdom and screen language, and is more highly defensible against critique in creative or academic disputes. While it's okay to begin rough first drafts quickly, you must always work closely from reference as a student. Please do not work entirely out of your head, especially when your workload requires you to learn by doing, with excellent guidance, for 8 hours of outside class time for every 2 hours inside class. 

You need to learn by doing, with excellent guidance, for 8 hours of outside class time for every 2 hours inside class. 

Work your entire workload, including reading and performing great pitches and scripts, watching and listening to reference audio-visual media, rehearsing and revising; do not shift any more than a few hours into different weeks - strive to maintain a weekly routine of 8 hours with good scheduling skills. 

Add up your hours as you work, to be on time for your mid-project weekly deadlines - 3 to 6 rounds of feedback-and-change cycles per project, a constant process of evolving and improving. Please reduce the traffic jam of in-class feedback time, by following highly-regarded reference closely outside class, so we are "on time" for quality goals. 

Please do not skip weekly feedback or ignore feedback then deliver half-baked work at the end of the Project - this would be less likely to achieve a Pass, and you wouldn't develop collaboration skills and directability.