Most of you have said you want to get into this industry. I want that for you. Not just saying that. I actually do.
So please consider -- This is an incredibly competitive industry. It's not like law, where getting your J.D. and working reasonably hard means you're almost guaranteed to make at least low six figures the rest of your life. Nope. Not like that at all.
In this industry, the vast majority of the incredibly talented people who try to get in ... will not get in. Despite years of trying. I could bore you with stories of my incredibly talented writer friends who've worked for years and years and who would give their left leg to sell just 1 script or get on a TV staff for just 1 season (let alone for season after season, a very hard feat to achieve). You get the idea. So keep this in mind.
3. We're still working on the basics. The fundamentals. Yes, the way to score in TV is to write an original spec pilot, but so far nobody in the class appears ready to do that. Which is no slight to you. Very few writers are. Getting to that point takes a long time.
Keep in mind -- creators of TV series are almost always writers who have worked in TV for years. That's how it works -- you have to write other people's characters for a long time before you get to write your own. There's 5 or more staff jobs for every series "creator" job. So when you want to break into TV writing, you'll write original spec pilots -- to be read by agents, producers and other writers. And if they LOVE your work, you may have a shot at a staff job ... writing other people's characters. That's why writing Mod Fam helps you. You learn by mimicking the voices, strategies and structures of more experienced writers. If you can't, there's no point writing your own original material. Really.
4. This class is held in NYC. And last I checked, NYC is actually not located within Los Angeles.
It's sometimes hard to contextualize the experience of trying to break into the entertainment industry for students here in NY. If you were taking the same class in L.A., you'd probably be writing in coffee shops where EVERYBODY is writing TV scripts, hoping to break in. Many of your friends would be writing TV scripts, hoping to break in. You might even be living in a part of town where TV writers make up a large portion of the population. I'm talking about writers and aspiring writers of all ages. Writers who worked on a show in their 30's, then didn't work for ten years, and are now trying to break back in. Writers who have great connections and great scripts and have been on the verge of breaking in for years. Writers who are represented by major talent agents and are, still, not working.
In other words -- there would be more and better competition all around you. And you would probably have a more intense sense of urgency. Which is what you need to break in. A sense of urgency that you can sustain for years.
I'm not saying this to push you to move to LA. I'm saying this so you know why I run the class this way. I do it out of love.