How to run a paid rug-tufting workshop

You're selling a few hours of making something with your hands. The buyer sees a colourful rug, a machine they've never used and a session that looks fun. You see the frames, the instructor, the yarn bill and the work still waiting when everyone goes home.

To run a paid rug-tufting workshop, choose a small project you have tested with beginners, limit bookings to the number you can supervise properly, and include the full finishing job in the ticket price. Explain before purchase when the finished piece will be ready. A class that ends on Saturday can still create paid work for your team on Tuesday.

That last part deserves attention. Tufting pushes yarn through cloth stretched over a frame. The piece then needs the appropriate adhesive, backing and finishing for its intended use. If your business plan pays for teaching but assumes the rest happens somehow, you haven't costed the workshop yet.

We'll work through a fictional first session for eight adults, each making one small decorative tufted piece. There are eight workstations, a competent lead tutor and a trained assistant. These are planning assumptions to test, rather than a recommended staffing ratio or an industry benchmark. The aim is a workshop you can deliver well, charge properly for and repeat without accumulating unfinished customer work.

Decide exactly what the ticket buys

The first thing you want to do is agree the project with the person teaching it. What can a beginner reasonably make, which parts will they do themselves, and which parts will your team finish afterwards?

For our example, the offer is one circular decorative piece up to 35 centimetres across, using one of three original studio templates and two yarn colours. Participants practise with the tufting machine, tuft their own design and review it with the tutor. Staff handle adhesive, backing, trimming and final inspection after class. Collection is scheduled for Wednesday evening, after Tuesday's finishing appointment and a final readiness check.

The advertised session runs on Saturday from 10 am to 2 pm. It is for adults aged 18 and over with no previous tufting experience. That age boundary is our chosen offer, subject to the venue, insurer and equipment requirements. It isn't a claim that every tufting machine is appropriate for everyone over that age.

Describe the finished object accurately. Our beginner piece is decorative, with no promise that it is suitable for a doorway, stairs, heavy foot traffic or machine washing. Display fittings aren't included. If you want to sell a functional floor rug, the materials, backing, finishing and care information must support that use. A pretty photograph doesn't establish suitability.

Keep custom artwork out of the first offer unless you've priced the approval work. Detailed lettering, portraits, tiny shapes and several colours can create very different teaching and finishing demands. A fixed project gives you a useful first test. You can observe what beginners actually need before adding options.

There is still room for personal choice. Buyers choose a template and an approved colour pair before the preparation deadline. The tutor prepares the outlines and checks the material combinations. That gives people ownership without asking the instructor to redesign eight different projects during the welcome.

Explain the project limits in the same description as its benefits. Say that the ticket includes the guided session, borrowed equipment, materials for the stated project and staff finishing. Then state the collection arrangement and any delivery exclusion. Buyers shouldn't discover that the item in the photograph costs extra to finish.

Our broader guide to organising a paid workshop covers the agreements, booking process and general delivery plan. For rug tufting, the project specification needs to be settled before those bookings create commitments you can't change cheaply.

Rehearse with beginners before choosing your capacity

An experienced tutor making the sample quickly doesn't tell you how long a first-time participant needs. They already know how the machine feels, how to correct their position and when to stop. A beginner is learning all of that while trying to follow a design.

Run a rehearsal with people who match the intended audience. Use the actual frame, machine model, yarn, template and room arrangement. Include the introduction, supervised practice, breaks, ordinary corrections and the finishing handover. Pay attention to what happens when several people need help at once.

Record more than the overall finish time. Note when the first machine starts, how long initial checks take and which steps repeatedly need the tutor. Keep a separate note of cloth damage, yarn problems, fatigue and any point where someone couldn't continue safely. A quick overall average can hide a difficult period at the start.

For illustration, suppose each learner needs a five-minute individual start check before moving into supported practice. Eight learners create 40 minutes of checking. If both staff members are trained and authorised to perform that check, they could divide it into four checks each. That's 20 minutes of checking per staff member before interruptions, rather than proof that everyone will be ready within 20 minutes.

If only the lead tutor can approve starts, all 40 minutes belong to that tutor. The assistant can prepare learners and manage the room, but you can't count their time as equivalent instruction. Decide which jobs they are competent to do before using two people in your capacity calculation.

This distinction matters commercially. An extra paid place may need only a little more yarn, yet create more demand at the exact moment the tutor is busiest. Don't price that booking as though materials are its only cost.

Set the first ticket limit from the smallest workable allowance across teaching, equipment, space and finishing. If the room holds twelve people but you can only supervise eight, eight is your limit. If eight can tuft but only six finished pieces can be stored properly, resolve storage before selling eight.

Keep the rehearsal result honest. It is evidence about your project and setup, with those learners, on that occasion. It doesn't establish a universal completion time. Build enough room into the session to respond to ordinary variation, and change the project if the trial only works when staff take over most of it.

Give each place a workable machine and frame

For this first session, I'd use one workstation per paid participant. That makes the promise straightforward. Each learner has access to their own prepared frame and machine during the practical parts, with pauses whenever the tutor requires them.

Sharing can work in a different offer, but describe it properly. Two people making one piece together is a joint project. Two people making separate pieces on one machine need a rotation plan and enough time for both. Neither arrangement is equivalent to selling two individual places with uninterrupted equipment access.

Consider an illustrative equipment check. One machine available for one minute gives you one machine-minute. If eight people each need 90 minutes of practical machine access, the group needs 720 machine-minutes. Four shared machines across a two-hour practical window provide only 480 machine-minutes. Even perfect swapping leaves a 240-minute shortage. That calculation ignores teaching and changeovers, so real delivery would be tighter.

Eight machines across that same window provide 960 machine-minutes, leaving 240 in the calculation for pauses and uneven progress. This still doesn't prove that the class is teachable. Machines can be available while learners wait for help. Use the calculation to reject an impossible plan, then use rehearsal and competent supervision to assess the workable one.

Our example also has a compatible tested spare machine. It replaces a failed unit; it doesn't create a ninth saleable place. Keep its accessories and setup ready so a fault doesn't turn into a repair session in front of a paying learner.

Frames need their own plan. Cloth remains on the frame while the chosen adhesive dries, so a machine becoming free doesn't necessarily make its frame available for another class. If Saturday's projects still occupy all eight frames, Sunday bookings need another tested set or a different schedule.

Ask the tutor which components can be replaced safely and by whom. Check maintenance, inspection and manufacturer instructions for the exact equipment. Tuftingshop's machine manuals and model-specific guidance illustrate why a general demonstration cannot replace instructions for the unit in front of you.

Make the inventory useful to whoever opens the studio. Identify each machine, matching frame, power supply and required accessory. Record the check completed before use and isolate anything faulty. A count of nine machines is meaningless if one has an intermittent switch and another lacks its correct power supply.

Choose a studio that can keep the work after class

A room available for four teaching hours may be a poor choice for this workshop. You also need setup, cleaning, secure storage and a suitable place for the later finishing work. Confirm all of that before comparing the headline hire price.

For our example, the studio agreement covers Saturday access from 8:30 am to 4 pm, protected storage of the occupied frames until Tuesday, a booked finishing area on Tuesday and customer collection on Wednesday from 5 pm to 7 pm. Staff remain responsible for checking readiness before release. These are negotiated arrangements for the fictional event, not services every venue supplies.

Walk through the layout with the tutor. Place the full frames, yarn feeds, machines, power supplies and waste containers where you intend to use them. Then check whether staff can reach each participant without crossing another person's work area. Keep bags and coats somewhere they won't obstruct the activity or escape routes.

Confirm the electrical arrangement with someone competent to assess it. Don't assume that enough visible sockets means the setup is suitable. The venue needs to understand what will operate together, where cables will run and how equipment will be isolated when required. Get approval for the actual layout rather than a vague description of a craft class.

Listen to the room with equipment running. A tutor who can speak comfortably over one demonstration machine may struggle with several in use. Agree how the group stops and receives instructions. Music should never make it harder to hear a safety instruction or a request for help.

Accessibility requires a conversation about the activity as well as the entrance. Can the workstation be arranged for seated use? Can someone see the demonstration, reach the controls and take breaks? What alternative explanation or assistance would help them participate? Discuss the practical need privately, test the proposed arrangement and explain any unresolved limit before purchase.

W3C's accessible events checklist recommends asking about access requirements and preparing accessible information. Apply that approach to the booking page and teaching materials. A short readable instruction sheet can help someone refer back to a step without needing the tutor to repeat the whole demonstration.

Storage deserves an actual inspection. Agree where the frames will stay, who can enter, how they will be identified and what happens if the room is needed unexpectedly. The staff member cleaning on Sunday needs to know that these are customer projects, not equipment to clear away.

Include the finished pieces in the same agreement. Once removed from their frames, they need a suitable protected holding area until collection. Confirm who opens the building on Wednesday, where customers wait and how the correct piece reaches the correct person. Include that access and staff time in the budget.

Agree supervision and stopping rules with the tutor

The operator's job is to arrange competent teaching and a suitable working setup. Reading an online guide doesn't qualify someone to supervise power tools. Choose a tutor who knows the equipment, can teach beginners and can explain how the class will be stopped when necessary.

Give the assistant a defined role. In our example, both staff members are competent to perform the agreed beginner checks and supervise the selected machines. The assistant also handles arrivals and customer questions. During those interruptions, the lead tutor changes the activity or pauses machines as needed; the plan doesn't assume that one person silently covers the same workload as two.

HSE's guidance on training and competence, for workplaces in Great Britain, explains that adequate training depends on the equipment, activity and supervision. Use the requirements that apply where you operate, and have the actual session assessed. A fixed ratio copied from another studio doesn't establish that your class is suitable.

The tutor should demonstrate the safe start, stop and fault response using the exact machine. Tuftingshop's power-tool safety instructions cover matters including keeping loose clothing and hair clear, checking equipment condition and disconnecting power before adjustments. Follow the complete model instructions and assessment, including required eye and hearing protection. Don't reduce them to a few lines on a ticket page.

Agree a stop signal everyone can recognise and practise it before the group activity. Explain how learners ask for help and where they place equipment when pausing. Someone who has lost control or encountered a fault needs a clear action, rather than encouragement to keep going until the tutor reaches them.

Keep machine adjustments, repairs and later trimming with the authorised staff in our beginner format. A learner who wants to understand those steps can watch an appropriate demonstration. That doesn't mean you need to introduce another tool into their project halfway through the session.

Decide how the team responds to fatigue, distress or someone who cannot operate safely after instruction. An alternative activity, a supported pause or stopping participation may be appropriate depending on the situation. Agree the customer response and any remedy in advance, while preserving the rights that apply locally. Don't rely on a signature to make an unsuitable activity acceptable.

A late arrival needs the full required instruction. They can't join running machines because they watched a short video on the way. Publish the arrival time and explain the late-arrival process. If the assistant is providing catch-up instruction, the lead must be able to supervise the rest of the class under the agreed plan.

Ask the venue and insurer to confirm the activity and cover in writing. Describe powered tufting, the participant group, staff duties, adhesive use, later finishing and retained customer work. An agreement for a generic art event may leave important questions unanswered.

Plan finishing around the exact materials

Here is where a rug-tufting workshop can become more expensive than the ticket price suggests. The customer has finished their part, but your team still has to turn the work into the object you sold.

Choose the yarn, primary cloth, adhesive, secondary backing and edge treatment together with the competent tutor. Primary cloth is the stretched fabric the yarn goes through. Secondary backing is the material attached later to the underside. Check compatibility and the intended use before making the sales sample.

The instructions for Tuft the World's Carpet Backing Adhesive, checked in October 2026, specify drying for 12 to 48 hours before removing the piece from the frame. That range belongs to that product. It isn't a universal drying time for every adhesive, thickness, room condition or workshop process.

For our Saturday session, staff apply the selected adhesive after learners leave, within their booked working time. The occupied frames stay protected in the agreed studio area. Tuesday's finishing appointment gives the team time to check that the pieces meet the product requirements before proceeding. The calendar alone never authorises removal from the frame.

Don't advertise Wednesday collection until the method has been tested under your actual conditions. If a product change needs a different sequence or longer holding time, revise the promise before selling. A supplier substitution can affect several bookings and the next class's frame availability.

Have a competent person assess adhesive handling, ventilation, storage, cleaning and any dust produced during finishing. HSE's hazardous-substance assessment guidance, for Great Britain, includes product information and substances produced by the process. Water-based wording on a label doesn't replace assessment of what your team actually does.

Our introductory offer leaves all adhesive work and trimming to staff. That simplifies what participants need to learn during the session, but it transfers work to your payroll. Count preparation of the finishing area, application, later backing and edge work, trimming, cleaning, inspection and packing. Waiting for adhesive to dry isn't paid hands-on labour throughout, yet it occupies storage and equipment.

Keep a record for each piece. Use the booking reference, participant name, frame identifier, approved design and agreed contact details. Record the materials used, the stage completed, any issue requiring attention and the person who checked it. Don't attach private access information to a public project label.

For this example, six finishing hours cover Saturday corrections and adhesive work, then Tuesday completion. Saturday finishing happens within the booked studio access but has its own wage allocation. The budget below separates those hours from teaching and other duties so every working hour is counted once.

If someone needs more tufting time, agree the response before class. You might offer a prepaid staff completion service within a defined limit, an arranged continuation booking or another fair remedy. Our example includes staff completion of a small unfinished area on Saturday before adhesive application, within its tested finishing allowance. It does not promise unlimited redesign or free future lessons.

Tell the participant what will be completed and ask before staff materially change their design. Photograph the agreed condition privately for the work record when appropriate. The customer should understand whether they made the finished piece themselves or the tutor completed part of it afterwards.

Price the whole workshop, including the work after it

Start the budget with the offer you've just defined. A comparison with local ticket prices can help you understand the market, but it can't tell you whether your particular staffing, project and collection arrangement will pay for itself.

The following figures are invented planning assumptions in US dollars, with no sales tax assumed. They aren't supplier quotations, market rates or a forecast of customer demand. Replace them with your actual costs, applicable taxes and the amount you retain from each sale.

For our eight-place session, the fixed budget is $1,400:

• $400 for the lead tutor's preparation, teaching, setup and other agreed session duties, excluding the separately allocated finishing hours.

• $220 for the trained assistant's Saturday duties.

• $240 for six hours of finishing work at an assumed $40 per hour.

• $320 for the studio arrangement, including the agreed storage, Tuesday finishing access and Wednesday collection access.

• $60 as an allowance for equipment use and wear.

• $40 for promotion.

• $40 for booking administration and staffing the collection window.

• $80 for an operating contingency, treated as fully spent in this calculation.

The finishing allocation consists of 90 minutes on Saturday and four and a half hours on Tuesday. Those hours are excluded from the lead tutor's $400 allocation. The assistant's duties are separate. Check the actual roster against those allocations so you aren't treating the same person's simultaneous jobs as separate available hours.

Each sold place adds an assumed $38 in project supplies and packaging. That consists of $18 for yarn, $8 for primary cloth, $6 for adhesive and backing, $4 for replacement consumables and $2 for packaging. Demonstration and ordinary repair use are allowed within those quantities and the preparation plan; they don't come out of another participant's promised project.

Assume a $245 ticket and $7 of transaction costs per sale. After the $7 and $38, each ticket leaves $200 toward the fixed budget. Six paid places therefore leave a $200 loss. Seven cover the $1,400 budget exactly. Eight leave $200 after the listed costs.

That $200 is the session surplus in this example. It isn't all cash you can withdraw immediately, and it isn't a statement about your annual business profit. Refunds, tax, costs outside the example and the timing of payments still matter. The contingency has already been counted as spent, so don't subtract it again when comparing these scenarios.

Our paid workshop pricing guide goes deeper into minimum bookings and retained ticket income. For this format, pay particular attention to the hours after teaching ends. A full room can look profitable until you pay someone to finish eight pieces.

Test the discount and the finishing overrun together

Suppose four of the eight places receive a $20 discount. Assume for this comparison that transaction costs remain $7 per sale. The session loses $80 of income, reducing its surplus from $200 to $120. If your real fees change with price, recalculate them rather than copying that assumption.

Now suppose finishing takes three extra hours at $40 per hour. That adds $120 beyond the six hours already budgeted. Without the discounts, the full class leaves $80. With both the discounts and the overrun, it leaves nothing after the stated costs.

That's a useful result to know before advertising an early-bird offer. This particular discount uses $80 of the $200 available after the stated costs. Decide whether the remaining $120 is enough for the delivery problems your rehearsal suggests.

Price custom work separately if you introduce it later. A more complex design can consume extra approval, tuition and finishing time as well as yarn. A higher ticket needs to cover those costs while preserving the simpler bookings' experience. Selling a premium place doesn't create another tutor.

Separate startup cash from equipment wear

The $60 allowance assumes the operator already owns the equipment. It doesn't buy eight machines, a spare, frames, a projector or finishing tools. If you are starting from nothing, list those purchases and their payment dates in a separate startup cash plan.

You can spread equipment costs across a realistic number of future uses when assessing the business, but you still have to pay the supplier. Unbooked future workshops won't fund next week's bill. Check whether buying, hiring or partnering with an established studio makes sense before committing to a full set.

Keep refundable venue deposits separate from expenses unless you expect to lose them. Record when they must be paid and returned. Do the same with customer refunds and ticket payouts. A positive session result doesn't guarantee that enough money is in the bank on the day your tutor needs paying.

Write the ticket page so buyers can picture the real experience

Lead with what people will do and receive. Avoid a promise of unlimited creativity if the class depends on fixed templates and a small colour range. You can make a constrained beginner project sound appealing without disguising its limits.

A description for our fictional offer might read:

"Try rug tufting in a guided beginner session and make one small decorative piece using a studio template and your chosen colour pair. You'll practise with the machine, tuft your design and get help from our tutor and trained assistant. Materials and staff finishing are included. The class runs on Saturday from 10 am to 2 pm; your finished piece is scheduled for collection on Wednesday from 5 pm to 7 pm, following our final check. This adult session is for ages 18 and over. No previous tufting experience is needed."

The rest of the page needs the venue, arrival arrangements, total price, collection address, access information and terms. Specify the maximum project size and explain that staff do the adhesive, backing and trimming. State that the piece is decorative and that display fittings and shipping are excluded from this offer.

Show a sample made with the actual class template and materials. Say whether it was made by the tutor or a beginner in rehearsal. An intricate portfolio rug can attract attention while creating expectations your introductory ticket doesn't fulfil.

Explain any clothing and preparation requirements using the tutor's assessed instructions. Give buyers a contact for questions before they pay. Don't make them guess whether a long session at a frame will suit them or whether an adjustment is possible.

Loopyah's ticket-selling tools let you offer ticket types with prices and quantities, take payment and send confirmation emails linking to QR tickets. For this first format, one clearly described standard ticket keeps the booking decision simple. Set its quantity to the assessed class limit.

If you later add paired or premium tickets, define what each one consumes. A paired booking might mean two participants, one shared piece and one station. Your total participant count, station count and finishing count would then differ. Check the setup before launch so separate ticket quantities don't sell the same available workstation twice.

For materials, I'd keep the complete beginner project included. It lets the tutor test one set of compatible supplies and gives buyers a usable total price. Our guide to including workshop materials in the ticket explains when separate options make sense and what they add to preparation.

Set the design deadline and explain what happens next

Original studio templates make the first session easier to prepare. They also let you show exactly which shapes have been tested at the advertised size. Give buyers the choices and a deadline early enough to prepare the frames, then confirm their selection.

If you accept custom designs later, add an approval process. State the size, colour and detail limits, when artwork must arrive and when the tutor will respond. Explain what happens if a design needs simplifying or the buyer doesn't submit one. An approval deadline is useful only when someone has paid time to review the work.

Ask buyers to supply original artwork or material they have permission to use. The UK government's guidance on using somebody else's intellectual property explains permission and rights in the UK. Check the requirements where you operate. Finding a character or logo online doesn't establish permission to reproduce it in a paid class or use it in your advertising.

For our example, send the template choices after booking and request a choice by the Monday before class. Prepare the outlines during the tutor's paid preparation time. If a buyer misses the deadline, the stated fallback is a choice from prepared studio options on arrival, rather than a new custom design.

Send the practical reminder separately from sales promotion. Include the address, arrival time, activity requirements, project choice and collection plan. Loopyah's attendee email tools support event updates to ticket holders. Use that to communicate the details of the booking, and check that the people attending receive them when one buyer has booked several places.

Give refund, transfer and organiser-cancellation terms before purchase. A last-minute transfer needs to preserve the prepared project and any agreed participation arrangements, or follow a stated process for changing them. If you cancel because the tutor or equipment is unavailable, communicate the actual options promptly and apply the rights and terms relevant to that booking.

Late sales need a preparation cutoff too. Don't keep selling a ticket that promises a personalised colour choice after the team has packed the materials. You can close sales, keep standard prepared choices available or define a different late-booking offer before launch. Choose one and make the page match it.

Run the day around supervised practice

Keep the teaching plan visible to both staff members. The following running order belongs to our fictional project and needs rehearsal before use. It includes a two-hour main practical window, but that window contains breaks and tutor-led pauses. Nobody is expected to operate continuously.

• 8:30 to 9:40 am: staff prepare and inspect the room, equipment, frames and supplies, then brief the response to faults and late arrivals.

• 9:40 to 10 am: welcome participants, confirm project choices and resolve arrival questions before teaching begins.

• 10 to 10:25 am: introduce the project, demonstrate the equipment and practise the agreed stopping procedure.

• 10:25 to 11 am: complete individual start checks and supported practice on practice areas prepared beside the project outlines on each frame.

• 11 am to 1 pm: work on the individual projects, including a scheduled break and further pauses when needed.

• 1 to 1:35 pm: stop machine work, review progress individually and agree any included staff completion.

• 1:35 to 2 pm: identify each piece, explain finishing and collection, answer questions and close the participant session.

• 2 to 4 pm: staff complete any agreed small corrections, the allocated adhesive work, protected storage, cleaning and equipment shutdown before leaving.

The Saturday finishing allowance occupies 90 minutes of the lead tutor's final two hours. The assistant handles other wrap-up tasks alongside that work. The remaining duties must fit the roster and tested process. If they don't, extend the paid access and staff time or simplify the offer before selling it.

Set a clear machine-work cutoff and explain why it exists. You need time to review each project, label it correctly and agree what happens next. If someone uses the whole final hour tufting, the end-of-session work still has to happen somewhere.

The tutor should review progress during the practical block, rather than first discovering unfinished projects at 1 pm. If the beginner project repeatedly needs extensive staff completion, revise its size or complexity. A paid making session loses value when the customer mostly watches an instructor rescue an overambitious design.

At handover, let each participant see the work and understand any correction staff propose. Match the piece to its record before moving it to storage. Don't rely on remembering which blue circle belonged to which buyer once several similar pieces are drying together.

Finish, check and release the right piece

On Tuesday, the finishing lead checks the actual material condition and completes the agreed sequence only when it is appropriate to proceed. Record any delay immediately. If Wednesday collection is at risk, contact affected customers with a revised arrangement before they travel.

Keep quality checks specific to the product you've sold. Confirm that the piece matches the recorded design, its edges and backing are finished as intended, and loose finishing debris has been removed. Check for damage or defects requiring correction. Don't release an item just because its collection slot has arrived.

Give the customer care information for the actual materials and intended decorative use. Avoid adding a generic washable or non-slip claim to make the product sound more useful. If you haven't verified a property, don't promise it.

At collection, use the booking record and piece identifier. Ask before handing it to someone collecting on another person's behalf. Record that the piece has been released and provide a contact for any problem. A workshop ticket scan establishes entry to class; it isn't a substitute for a record of finished goods collected days later.

Agree an uncollected-work process before sale, including reasonable reminders and a stated holding period. Check local obligations before applying storage charges or disposing of customer property. For our example, the booked Wednesday window is included, and any alternative appointment is agreed individually with its cost and access requirements checked first.

Review the result before putting another date on sale

After collection, compare actual time and spending with the forecast. Count paid places, retained ticket income, materials used, machine faults, finishing hours and customer remedies. Include your own work if you did it instead of paying another person. Unpaid owner time still affects whether this can become a repeatable business.

Ask participants whether the description matched the experience, whether they had enough supported practice and whether the collection arrangement was clear. Those questions tell you more about the offer than a general request for a star rating.

Use the work records to explain the cost differences. If finishing took nine hours instead of six, was the project too complex, did preparation miss something, or did the team have to redo a material failure? Each cause suggests a different change. Raising the price won't repair an unreliable adhesive process.

Check frame availability before opening the next session. A busy weekend isn't useful if Sunday's learners arrive to find Saturday's pieces still occupying the equipment. You may need another set of frames, a longer interval between classes or a smaller release of tickets while the method is still being tested.

For the next date, keep the project that beginners could complete with worthwhile guidance, pay for the full finishing and collection job, and set the ticket limit from the capacity you actually demonstrated. If the numbers only work when every place sells and nobody needs extra help, revise the price or format before asking another group to book.