Appropriate, timely, respectful and thoughtful communication is central to leadership and essential if you are to succeed as a Showrunner. The communication you have with your collaborators will make (or break) your show. Who are your collaborators? Your writers, producers, directors, actors, department heads, crew members, your network and studio executives, your agents, your managers – everyone you interact with in selling and making you show. Every exchange you have is about creating trust in you as a leader and establishing you as a leader with integrity. You need to be someone who listens, who makes timely decisions and shows concern for everyone’s needs and safety.

You have to be truthful, always. Don’t avoid confrontation. Don’t manipulate. The adage “fake it till you make it” is terrible advice. Never pretend to know what you don’t know. It doesn’t make you look as if you’re in-over-your-head to say you don’t know, it makes you someone intelligent and mature enough to recognize there are others around you who have spent years (often decades) becoming experts at their jobs.

Beyond the methods of communication we discussed in Schedules and Deadlines (Producers Meetings, Writers Meeting, etc.) there are specific communication needs for each group of collaborators.

COMMUNICATION WITH YOUR ACTORS

Every time I meet with a group of prospective or active Showrunners, the question that comes up more than any other is how to communicate effectively with actors. First and foremost, let’s establish that acting is fucking hard.

While we may complain that actors often work shorter hours than we do, they are the most exposed and vulnerable of our collaborators. They’re constantly being judged -- on their physical appearance, on their performance in every take, on their preparedness. But actors have little control over how their work will ultimately be seen. Their success and career are in your hands. You determine which of their takes will survive in editing. You have ultimate control over what clothing they will wear, their hairstyle, hair color, make-up. You work with the cinematographer to choose how they will look on screen and if the visual style you decide upon will reveal every facial imperfection they have (a serious concern in our age of digital filming). You decide if the things that make all of us self- conscious will be treated with care. Actors have little control over how they will ultimately be seen on screen and it produces tremendous anxiety and fear – as it would in any of us.

And we require them to be vulnerable. That’s what good acting is – the ability to be vulnerable and to share that vulnerability with the audience, utilizing the words you wrote. We have to be aware that the vulnerability we require of actors to do their jobs well often also makes them emotional, insecure and sometimes confrontational. At the beginning of any new show, we’re asking them to trust us with their future. You need to earn that trust.

The best way to earn their trust is by listening. Actors are interpretive artists. They take your words and bring them to life. They become your words. Think of your relationship with your cast in musical terms. You’re a composer/conductor. They’re the musicians. They make the music with their craft, their intelligence and their bodies -- their instruments. They’re not children to be condescended to or manipulated. They’re adults. They need you to write the music and you need them to create the music. That requires collaboration. Listening and discussion.

You need to be in a conversation with your actors about what you’ve written. You don’t have time to do this on set (time on set discussing while your hundred- person crew waits around costs thousands of dollars a minute and is a great way to end up over budget). As discussed in the Schedule section, I give our casts scripts during prep and ask them to reach out with any questions they have before the episode begins shooting. We also hold a read-thru with time left for discussion afterwards. They will have questions and they will have notes. Listen and avoid becoming defensive and/or frustrated. I get why it can be frustrating. Why don’t they understand the fantastic line you wrote or scene or whatever?

It’s clear to you. You get what it means. You wrote it. The scene, the tone, the line – they all make sense. But consider that every question is about confusion (this is especially true of network and studio notes, more later about that). When your actor doesn’t understand, you’re thinking “what an idiot, it’s obvious why this is a great line”. Take a moment to consider that maybe what you wrote isn’t as clear as you think it is. Listen to what’s being said. Try to decipher what the confusion is. Rather than becoming defensive, train yourself to think of every note as a puzzle. “What haven’t I made clear?” “What is the actor (or studio/network exec) concerned about?” “Does the actor not understand what the scene is about?” “Are they concerned the line is too wordy and they don’t know how to deliver it without it sounding expositional?” “Are they worried about having to cry on cue or playing drunk?” “Are they concerned that the line reads well on the page but doesn’t sound like normal conversation?” “Have they not understood the tone of the scene?” “The subtext?”

LISTEN before you respond. Make it an exploration for both of you. The very act of listening is sending a strong message that you respect them and their concerns. You’ve lived with your words throughout the writing process, but they’re just coming to them. They’re trying to get inside of the writing so they can embody it. That’s what you want them to be doing. After you’ve listened, don’t try to win as if the conversation is a debate. Explain your intent. Listen to their concerns. Often, they’ll be right. Other times they simply won’t have understood and after you’ve explained it, they’ll be fine. If they’re suggesting a change, you may not like what they’re suggesting but consider that maybe it isn’t your best line of dialogue, or the tone of the scene isn’t yet clear. If you’ve listened, discussed, made changes (or not), you will then be able to insist that they say the lines as written. You’ve given them the respect of listening, now they owe you the respect of doing the scenes as written after you’ve listened. If possible, have your director present (or on the phone/Zoom) for these conversations. Instead of you getting a call from the set, the director will remind the actor that this issue was already discussed, you (as Showrunner) listened and the locked dialogue/scene/tone is what’s going to be shot. Leaving your director out of these conversations can lead to awkward moments on set when an actor wants to make changes and your director is in the dark about what was discussed with you.

I also strongly suggest that if you’ve never taken an acting class, take one. You’ll probably be terrible, but a couple of months of preparing scenes and standing up in front of others performing will convince you that acting is an assault on self- esteem. Empathy toward your actors will blossom. An acting class will also help you learn an acting vocabulary that can be useful in bridging the narrative vocabulary you speak as a writer with the emotional-performative vocabulary most actors use to access their craft. Actors and writers are often speaking past each other when in conflict. Basically using different languages, and it’s frustrating for both. Many colleges and universities offer beginning acting classes in their extension programs. Many private acting classes are also available to participate in. I don’t suggest you take an online course, much of what you’ll get out of taking an acting class is what you’ll get from being in the room with other actors. Tell your acting teacher that you’re a writer who wants to learn about the craft of acting and they will likely be helpful explaining the vocabulary and techniques used by various schools of acting. An acting class will make your writing better.

A note on the vulnerability that is at the heart of all great acting. We hire actors to be vulnerable and that means we have a responsibility to protect that vulnerability. It’s not only wildly inappropriate to take advantage of that vulnerability (sexually or with verbal harassment), but it’s your job to make sure that vulnerability is protected, always. Your actors are exposed and raw when acting, make sure you provide them with a safe working environment.

And a final note on child actors. You will need to create a relationship with your child actor, your child actor’s parents or guardians, your studio teacher, and often a child welfare worker. Communicate with all of them and make it clear that while you are grateful to have them on the show – your primary responsibility is to the child’s education and emotional well-being. You need to let the child and the adults involved with the child know that you’ll be monitoring their schoolwork and that school must be their priority. Make certain the parents and guardians know that you take the work hours and safety concerns for all of minors you’re using seriously. Never ask to go over hours with a child actor. Ask regularly and often how their schoolwork is going. Make sure the child actor knows how important you believe their education to be. If you don’t want this responsibility, don’t write children into your show.

COMMUNICATION WITH YOUR WRITERS

For most Showrunners this is the easiest group to communicate with. You see the writers regularly and are usually in the same offices. Beyond the Producers Meetings, I like to begin every Writers’ Meeting with a quick rundown of any issues that may have come up on the show. We include the writer of each episode in note sessions with the studio and network. We include all the writers in the studio and network pitch meetings for the season and episodes. This saves a great deal of time filling in the writers later.

We try to include the writer of the episode in conversations with the actors after they read the script. The writer of the script is in the Concept Meeting, the Tone Meeting, Casting, the Production Meeting, the Read-thru, and is invited into editing. I do notes as a group so that every writer is aware of what I’m looking for in the changes and to get input from the entire writing staff (many heads better than one, etc.). This lets the writers turn to each other for clarification of notes when you’re unavailable. We also have a writers assistant taking extensive notes in every Writers’ Meeting and those notes are distributed to the writing staff.

Writers are assigned their episodes early on so they know when their outlines and drafts will be due (we put the writer’s name beside the episode on the Writers Schedule).

I do extensive written notes on every script. We go over my notes, along with the rest of the writers’ notes, in the writers’ room at the first writers’ meeting after the outline or draft is turned in (you, as Showrunner, must turn around your notes quickly to stay on schedule). Then the writer executes the notes.

I very, very, rarely rewrite a script and I never put my name on another writer’s script even if I have had to rewrite it extensively through notes or putting it through my own computer (putting your name on a writer’s script impacts their residuals and creates a lot of ill will among writers). I believe strongly that you get better work from your writers when they have a sense of authorship. I’ve given detailed notes and I expect the writer to execute them. I know there are Showrunners who prefer to run every script through their computer before shooting begins. I don’t condemn that, but I’ve found that when writers are executing the notes and the 2nd (Shooting) draft comes out of their computer, you have writers who work much harder to get the script to where you want it to be. If every script is going to be rewritten by the Showrunner, why should the writer bust their ass? The Showrunner’s only going to rewrite it anyway. It’s been my experience that writers get discouraged and the quality of the work ultimately suffers.

COMMUNICATION WITH YOUR PRODUCERS

In the Scheduling section we outlined the meetings that are necessary to keep your producers (Line Producers, Unit Production Managers, Post Producers, non- writing Producers) fully informed throughout prep, production and post- production. Producer Meetings twice a week, producers’ inclusion in Concept Meetings, Tone Meetings and Production meetings.

But the most important meeting you’ll have with your producers is your first meeting – before they’re hired. This first meeting is when you clarify your expectations about how you want your partnership to work.

In almost all cases, your studio or network will dictate/present the line producer and unit production manager (UPM) they want you to hire. Because the candidates for these positions usually come from the studio/network, new showrunners are often suspicious of the line producer/UPM. Is this person going to be working for me? Have my back? Will they work hard to realize my vision for the series? Or are they going to be more aligned with the studio/network? While it’s true that line producers and UPMs are dependent upon their relationships with the production execs at the studios (who recommend them for jobs), it doesn’t automatically mean that they can’t be your champion and partner. The best ones work their butts off to bring your show to the air successfully. But there is no single manner understood in the industry for how Showrunners and their production staff will interact.

This is why the first meeting is so important. You must candidly and frankly discuss your expectations for your partnership. Tell them that when they join your show you expect them to always have your back. Assure them that you want their candor, expertise and input. That anything they’re reporting back to the studio (budget, scheduling, problems, etc.) needs to be shared with you first.

Equally important, tell them you will have a Writers Schedule that you will share with them, and that they will have finished, ready to shoot scripts on the first day of prep for every episode. That there will be Producers Meetings, Concept and Tone Meetings. A cast read-thru will be scheduled for each episode. That you expect budgets on the third or fourth day of every prep and you’ll promptly deal with any scheduling or budget issues that arise. A tentative shooting schedule is also due at the same time as the budget.

Tell them that you’re looking for a partner. You’ll make the final decisions because you’re the Showrunner, but you will always listen to and respect their input. Then do what you’ve promised to do.

This initial conversation, discussing how you want the relationship to work, will quickly determine if you’ve found the right line producer and UPM. On occasion, you’ll meet with a line producer who listens to what you want from the relationship, and you’ll get a response of “That’s not how I work. I always run the set and meetings.” That’s your cue to shake her/his hand, say it was a pleasure, but you don’t think this will work.

Your studio may complain that this is who they want, but hold your ground, explain to your studio executive exactly what you discussed and tell them the interviewee’s response. Ask them to send you someone else to meet. This may well be the first test of your leadership, don’t shrink from it. You have the right to work with someone who shares your vision of how the Showrunner/Line Producer relationship is going to work.

This issue of who’s in charge comes up often when your show is being produced in another city. “You’re not here, so somebody must be in charge where the show is being produced!” is often the cry from your distant line producer. This is a ridiculous argument in our digital age. You can have the meetings you need over Zoom or a similar platform. You’ll fly regularly to the distant location. There’s no need for you to relinquish your authority because the shooting company is in a different city. Casting can be done over Zoom. Read-thrus can be done over Zoom or similar technologies. A healthy relationship with your Producing Director in which you both understand that you as Showrunner make the final decisions won’t interfere with your Producing Director’s responsibilities on a distant location. Respect for each other and honest communication are essential to a successful team.

The first meeting before hiring is of equal importance with your Post Production Producer and/or Post Production Supervisor. You want to have the exact same conversation as you had with your line producer. Nothing said to the studio or network that isn’t first shared with you. Your willingness to listen to their input and take advantage of their expertise, but you’re the boss. You want them as a creative partner. Clarify how you will be handling editing. On new shows I watch the director’s cut with them and the writer(s), give notes and wait for the editor to return with the notes executed. Then I step into the editing suite to do a final cut. Clarify that you expect them to be in the editing room with you (extremely helpful in expediting the process as they’ll know what you’re trying to accomplish and can help clarify your notes with the editor when you’re not available). Clarify if you’re planning to be in the sound effects and music spotting sessions (you should be for at least the first six episodes of any new show), and that you will attend the final mix. That you want to hear all composed music and give notes before it gets to the mix stage. As with the line producer, if they respond that they usually do much (or all of this) on their own without the Showrunner – say thanks, but no thanks. It isn’t going to work.

A meeting with any Writer-Producers you’re thinking of bringing onto your writing staff is equally important before they’re hired. Let them know you’ll be working from a Writers Schedule, and that deadlines will be enforced. Tell them how often you’ll be meeting as a group. That you’ll be including them in the prep meetings on scripts they’ve written, how notes will be handled. For your more senior writers discuss what their expectations of the work will be. Do they hope to be in editing? On the mix stage? Are you going to need them to be re-writing other writers or teaming up with other writers on the staff occasionally?

If this is your first show as Showrunner expect the studio/network to insist on a strong number two. Usually it’s a writer getting an Executive Producer or Co-Ex Producer title. This is the studio/network’s insurance policy if you flame out (fall behind, become overwhelmed). But don’t assume that person wants to push you out and take over your show – they don’t. Being a number two is a way for experienced writers to earn a good paycheck while they develop their own shows. Many number twos have created their own show in the past and they don’t want to take over your show, they want to create their own show again in the future.

That’s the Holy Grail for writers. Have the same conversation you had with your Line Producer, tell them that you’re looking forward to their expertise helping you execute your show, but you expect them to always be in your corner. Ask them to be brutally honest with you, but only behind closed doors. In all other settings you expect them to have your back.

The most difficult meeting you’re likely to have as a Showrunner is your meeting or meetings with Non-Writing Producers. Non-Writing Producers come in many varieties. Some will own the underlying rights to a book, or story or other piece of intellectual property you want to develop. Others will be managers (even your manager), others will be star actors who are agreeing to be the lead in your show but want to be a producer, others will be the star’s manager. There are too many ways that non-writing producers get into the mix for me to list. But the same issue applies to all – what do they expect to be the level of their involvement in producing the show? Don’t assume, ask.

Non-writing producers can be your greatest champions or your greatest impediment to success as a manager. You need to clarify the level of day-to-day involvement they hope to have and clearly state what your expectations are for their participation.

Some will be taking a more passive credit – they get paid but don’t expect to be involved. But others will have specific expectations of their involvement. If your show wasn’t an original idea (something you came up with and pitched), the person or persons who optioned or own the original idea may have strong feelings about what their involvement should be. This is particularly true of non- writing “pods”, production entities that acquire material that they then bring to you to execute as Showrunner (full disclosure, JWP is production pod).

You must have a clear and specific understanding of what the Non-Writing Producer (including actor-producers) is expecting their involvement to be. I refer to this as the “butt-in-chair” rule. Are they going to be full time, involved in all daily meetings, in the office every day, giving notes, going to set, in editing – carrying some of the load of producing the show? Or are they planning to “parachute” in occasionally with notes and produce nothing but chaos?

With a non-writing producing pod, do they expect to do a set of notes on every outline and script before in goes to the studio and then the network? If so, do you have enough weeks built into your Writers Schedule to accommodate this expectation? Importantly, like with your line producers and writing producers, you need their candor and opinions behind closed doors but their complete support with your studio and network partners at all other times.

These can be difficult conversations. You’re anxious to get the Showrunning job, or to have the actor in your show. But to lead your show effectively, you need your non-writing producer partners to agree on what your expectations of the working partnerships will be. That’s you saying, “You’re paying me to be the leader of this group, and if you’re not comfortable with letting me lead, then this isn’t going to work.” No matter how much you want the job or the actor, a less than satisfactory answer is your cue to walk away from the opportunity. Just like you want to get the payment schedule, you want to find out the parameters of any non-writing consulting producers deals. If they’re non-exclusive, non-fulltime, available by phone, three days a week, or anything more limited than five days a week fulltime, you want to know.

COMMUNICATION WITH YOUR DIRECTORS

To your cast and crew, the director is the most important leader (after you) on your show. Getting your director a finished script on the first day of prep is essential in establishing the relationship you want with your director. When directors don’t have a shooting script on the first day of prep they can’t do their job and they know they’ll be held accountable anyway for episodes that aren’t well directed. This affects their ability to get future work even though the lack of a shootable script during prep is almost always the primary reason their episode wasn’t well directed. With a shootable script in hand, they’ll have the opportunity to participate with you in Concept Meetings, Tone Meetings, Casting, Production Meetings, Cast Read-thru, etc. Use these meetings to clearly outline your expectations for tone and visual style. Answer every question they have. Listen to their opinions and clarify any confusion they may have. Be candid with them about the strengths and weaknesses of your crew and cast. Be clear about how you want to interact with them on the set when they’re shooting. Most importantly, empower the director by never excluding them from your conversations with actors and other collaborators about the script and network/studio comments and notes. Your director is your ally, your voice on the set. Never come to set and have conversations with the cast or crew about the episode that’s shooting without including the director (or allow one of your writers to side bar with cast or crew without the director). Your director is responsible for getting your words and vision onto the screen, they need to be always involved to do that effectively. Watch dailies and call your director to tell them what you appreciate about what they’re shooting (particularly if you also want to offer some constructive criticism).

You will often be watching the director’s cut after the director has departed for their next job, so be sure to call them after you’ve watched it to thank them for their work. Not hearing from the Showrunner after you’ve directed is exactly like being a writer and never getting a call after you’ve turned in a script. They’re artists and suffer from the same insecurity about their work that we all do. Be considerate and recognize their work with a quick call. Likewise, when the episode airs pick up the phone and call your director to thank them for their work. Common courtesy goes a long way, and you want the word to spread that you value the directors you work with. You’ll find yourself able to book more of the directors you want when the word on the street is that you respect your directors and are appreciative of their efforts.

COMMUNICATION WITH YOUR PRODUCING DIRECTOR

I always work with a Producing Director and I strongly suggest you insist on having one on your show. Your Producing Director is a director who is hired full-time to be on your show. They will often be the director of your pilot or first episode(s), and will be your primary director, directing multiple episodes of your series. They are responsible for the continuity of the visual and performance style of your show. With you, they prep the episodic directors (when they aren’t directing). You can’t be everywhere, and they become an essential and valuable collaborator. You can’t be in the scout van looking for locations or showing up on distant local locations (your office is in Burbank, that day’s location is in Long Beach, a ninety- minute drive!).

On a distant city shot show (you in Hollywood, the show shooting in Toronto or Atlanta or wherever), the Producing Director is an extension of you, your eyes and ears. As with your non-writing producers, you need to demand they always have your back. You need them to be candid with you privately but present a united front outside of those candid conversations. Establishing your expectations for this partnership is essential.

COMMUNICATION WITH YOUR CREW

As a Showrunner you need to work hard to prevent a “Front Office vs. Factory Floor” dynamic from developing on your show. It is the God-given-right of every employee to complain about the “Boss” and express disdain for the folks in the front office – and that Boss is you. This is natural and it will happen. See it from the crew’s point-of-view, you make many times more than what they make, you aren’t out in the rain/sun/snow, showing up for work at 5:00am and working twelve-hour days. Instead, you are in a cozy office somewhere, drinking fancy coffee, ordering sushi for lunch and keeping your soft, uncalloused hands... well, uncalloused. Crew work is difficult, physical work out in the elements. It’s natural that there’s some resentment. But you can take steps to reduce this friction.

First, you need to have a physical presence on the set. Yeah, I know I said don’t spend much time on set. But that doesn’t mean you shouldn’t go to the set at all. You need to go to your set regularly. Once a week, twice. It’s particularly useful to go by on the first day of shooting and on difficult (page count that leads to long hours, weather) days. If your show is shooting in a different city, try to get there as often as you can. I’ve written many scripts on American or United Airlines heading to and from Chicago, New York and Washington.

Try to learn your crew members’ names. You don’t have to learn all of them (there can be hundreds) but show an interest. Start with learning your department heads’ names. Ask about their families, how the show is going for their department. Query them about any concerns they may have. Is there anything you can be doing to make their work environment better? As a Showrunner you’re also a politician, you need everyone’s best work for your show to succeed and we all do better work when we know the boss cares about us and our opinion.

Send regular memos to the set with any useful news – ratings, upcoming distant location shoots, pick-ups for more episodes, exciting guest casts, etc. You can express your appreciation in a memo on a Monday when you know the previous Friday was a particularly tough day (rain, cold, long hours). Don’t only show up on set when there’s a problem – the crew will associate you showing up with problems, not leadership.

Pay for crew “treats” to show you’re aware of how hard the crew works. Send a coffee truck to set on a late-night shoot. A shaved ice truck on what’s anticipated to be a 100-degree day. Pay for crew gifts (startup hats, Christmas gifts, wrap gifts) – and make them nice. Have fun when you’re on set, laugh and be verbally appreciative of everyone’s hard work. More on this later in the leadership section, but you get the idea. Don’t allow the front office vs. the set dynamic to take hold. Be thankful, always. Your crew is working hard for you, make sure they know you appreciate their efforts and appreciate them.

And finally, ask your Line Producer or Producing Director to keep you informed of any tension that may be developing on set and work hard to diffuse it.

COMMUNICATION WITH YOUR NETWORK AND STUDIO EXECUTIVES

You need to establish strong relationships with your network and studio executives -- your creative executives and your current executives. These are difficult jobs. You need to understand their concerns and the tremendous pressure most are under. As soon as your show is picked up, reach out to each one of your executives and offer to take them out to lunch. Make a personal connection. Learn about their families, the culture within their network or studio. Who do they report to? What pressures are they under? You’ll learn a great deal about what concerns your network and studio have just by asking and then listening. Then stay in regular touch. You want to create a work relationship. It will pay off for all of you.

Share your Writers Schedule so your executives know when they can expect outlines and scripts. Tell them about your expectations for a quick turnaround on their notes so you can manage your show properly. Set a schedule with your assistant to reach out to them on a regular basis (weekly at least) so that you have an open line of communication. Tell them what’s going on with your show. The directors you’re working with, your progress on scripts and production issues. Keep in mind that your executives are regularly in meetings with their superiors where they’re asked “what’s going on with...” your show. When you’ve given your executives information they can then report to their bosses, you’ve helped them succeed in their position. That’s good for them and it’s good for you. You want them to be fully informed. That makes you a good manager and they’re much more likely to have your back. Executives want to be associated with shows that are well-managed because it makes them look good at their jobs too.

COMMUNICATION WITH YOUR AGENTS AND MANAGERS

Stay in touch with your Agents and Managers as a Showrunner. They are excellent at reconnaissance and can keep track of how you’re being perceived as a Showrunner by your non-writing producer pod, your studio and your network. It’s awkward for you to ask, “how am I doing?” but natural and expected for your agent and/or manager to be asking “how’s she/he doing?”. They can get you quick snapshots of how you (and individual situations that arrive) are being seen by your various partners. Early awareness of negative perceptions can be dealt with before negative perceptions become impossible to overcome. Ask your agents and/or managers to keep a finger in the wind for you and let you know what they hear quickly.

Many actors (and occasionally a writer) will want to use their agents and/or managers to intercede on their behalf if the actor has concerns they feel uncomfortable bringing to you. Many people are conflict averse and actors are no exception; you are their boss and they’re concerned that raising issues with you might impact how much you write for them in the future (and then of course there are actors who love conflict, but that’s just more of you listening and working to understand what their issue is). When I’m called by an agent or manager who’s relating a problem or concern their actor has, I immediately request a meeting with the actor so we can discuss it in person. I don’t want to try and resolve a conflict with an agent or manager acting as translator and mediator. We need to talk face to face, as adults and collaborators. The agent or manager may want to attend with the actor, I try to avoid that, but if it can’t be avoided, have them come. Sit down with the actor, listen and talk. If it’s a personnel or human resources problem (harassment in the workplace, sexual or verbal abuse, racial or gender insensitivity, etc.) get the proper human resource people from your network and or studio involved immediately.

INAPPROPRIATE COMMUNICATION

We have a simple policy at JWP. No yelling, no profanity and everyone is empowered to hang up on anyone that’s being inappropriate. If an agent or manager or network executive or anyone is acting inappropriately in their communication with you or your staff, let them know clearly that it’s not the way you and your team do business and to call back (text back, email back, whatever) when they’re prepared to communicate in a respectful manner.

To access the full document, please click here.