delegate welcome pack 2016€¦ · 2016 version 2, july 2016 the london screenwriters’ festival...

www.LondonSWF.com September 2016 Draft 2

1

Delegate Welcome Pack

2016

Version 2, July 2016

The London Screenwriters’ Festival is proudly sponsored by


2

Welcome to the London Screenwriters’ Festival 2016!

My name is Chris Jones, founder and creative director of the festival. And, just like you, I love storytelling and writing screenplays.

The LSF has fast become the most exciting, prestigious and largest event of its kind.

Over the three days of the festival you can expect to gain a massive amount of screenwriting knowledge, make powerful new industry contacts and connect with a whole new group of like-minded creatives.

This pack will help you get the most from the festival. I urge you to read it as soon as you can if you want to get the most from your LSF experience.

My hope and belief is that the festival will change the way you look at your writing, your career and hopefully your life too.

So - open your mind and heart and get ready for one hell of an adventure.

It’s going to be awesome! Promise.

Chris Jones Creative Director www.LondonSWF.com Follow me on Twitter @LivingSpiritPix

PS – I recommend you print this document and read it over coffee, it will set you up for an awesome LSF 2016!

PPS – There is a delegate area on the site where we share resources and updates. You will have been sent a login already and you can login here http://www.londonscreenwritersfestival.com/delegate-welcome

PPPS – You will need to copy and paste hyperlinks to open pages as they won’t click through from a PDF.


3

Plan for success at LSF 2016

To get the most from the festival, you need to do some planning.

There is a TON of very cool stuff going on, and we have found that many delegates miss out because they didn’t read the website, the emails or other messages we send.

That’s why we created this booklet, to give you the complete lowdown in advance.

We also suggest you print it out and read it – if you do this on a computer screen, odds are you will skim it. And you don’t want to miss the good stuff do you?!

1. Hit print.

2. Put on the kettle and make a cup of tea.

3. Switch off the phone.

4. Read the print aloud. It will take 15 minutes.

Chris Jones Creative Director London Screenwriters’ Festival

Online

We have an official Twitter hashtag for the festival which is #LondonSWF. You can follow us on Twitter @londonswf (https://twitter.com/londonswf )

Join us on Facebook too at https://www.facebook.com/londonswf - do drop by and like the page, we use it for many announcements of upcoming stuff.

We have a blog, too – check it out at www.londonscreenwritersfestival.com/blog


4

Shape of the Festival

The festival runs for three days from September 2nd to 4th (Friday to Sunday).

The days start at 9.00am and end around 7.30pm (with networking drinks running later).

The venue is Regent’s University (which used to be called Regent’s College, but it’s the same building).

On the first day of the festival there will be a bottleneck as 1000 delegates turn up to collect passes, so arrive early. We suggest no later than 8.30am on Friday 2nd September.

Each day, you can arrive early for breakfast (in the refectory), and stay late for our parties (on Thursday, Friday and Saturday nights). We recommend planning for both.

Plan to be present as much as possible as you won’t want to be dragged away to other events over the three days.

WiFi

Okay, so the good news is that we SHOULD have free WiFi throughout the entire venue for the whole event. In past years this has been an issue but we have new contractors at the venue, so fingers crossed! It is, in effect, it’s out of our hands but we have been given promises. Your WiFi codes will be on the back of your pass when you collect it at registration.

Bookstore

There will be a bookstore on site where you can get signed books from our speakers so please check the schedule for their allocated times. We do now accept card payments but if you think you need cash remember to bring enough with you as the machine on site charges for withdrawals.


5

Getting There

The London Screenwriters' Festival is hosted by Regent's University, in the heart of London and within the beautiful grounds of Regent's Park.

Regent's University, Inner Circle, Regent's Park, London, NW1 4NS

Baker Street tube is the closest tube stop, around ten minutes walk to the university. There is a Google map with directions here http://goo.gl/maps/n01dk

Exit Baker Street tube station, take the Marylebone Road exit and turn left. Walk past Madame Tussauds, before taking the next left onto York Gate, which continues onto York Bridge. Follow the road into Regent's Park and the main entrance to Regent's University will be on your left-hand side. Total walking time is approximately 10 minutes. Please note that Baker Street Underground Station is not wheelchair accessible.

It’s not advised to travel to the venue by car as parking is expensive and restricted.

Allow time to get lost on your way on the first day :)

When you arrive

Please bring a copy of the emailed receipt that you received when you signed up. If you do not have this, bring some ID instead. We want to make sure that YOU get YOUR pass!

Do not lose your pass, replacements will cost £20. We will also give you the most up-to-date schedule and a map of the venue. There will also be a board with all the speakers listed on it, to jog your memory.

REMEMBER, ARRIVE EARLY!


6

Map of the Venue: Regent’s University

Don’t panic! The Venue is smaller than it looks and you will quickly get your bearings. It’s essentially a large quad with rooms on all four sides. At the back in the private gardens will be the Final Draft Marquee. NOTE – This map WILL change closer to the event as rooms lock in.


7

Schedule of Events

The full schedule will go live some time in mid August.

http://www.londonscreenwritersfestival.com/schedule

During the festival there are five separate strands of events – this means that at any one time five sessions are running concurrently.

We film many sessions to help you with the choices you may face. We do not film all sessions as some speakers decline this.

Some sessions will be much more popular than others and, where possible, we will flag this up so that you can make your choices with the most information.

Between sessions there is always a half an hour break minimum, with a longer one for lunch (around 90 minutes).

All sessions are one hour, with the exception of mid-morning double sessions which can last between an hour and a half and two and a half hours, depending on session and speaker(s).

Friday will be our most busy day and we recommend bringing a packed lunch if you want to avoid waiting in line.

If you have applied for Pitching, Script Doctor Sessions, The Actors’ Table Read or the Labs, or other small group / individual sessions, and if you are selected, we will endeavour to schedule you so that none overlap. These include…

• The Advanced Script Development Labs

• The Actors’ Table Read

• The Pitchfest (takes place all Thursday, Friday, Saturday and Sunday).

• Hollywood Pitching sessions will take place on the Friday and Saturday evenings.

• The Script Doctors take place on Saturday and Sunday.

• The new Writers Room initiative

• The new Speed Networking initiative

• Meet the Experts


8

As you can see there are a lot of possible conflicts but we will do our best to make sure we avoid problems.

NO AUDIO OR VIDEO RECORDING IS ALLOWED – WE FILM EVERYTHING PERMITTED BY SPEAKERS

Announcements

We share all important operational announcements for the London Screenwriters’ Festival on the Announcements page on the website. This isn’t used to announce speakers or sessions, but is used for sharing information about successful applicants for various initiatives at the festival, upcoming deadline and stuff you need to take action on.

A link to the page can be found on the main menu, or you can access it here… http://www.londonscreenwritersfestival.com/announcements-for-the-screenwriters-festival/

Other Get-Togethers

There will also be drinks on Friday and Saturday nights, and very informal drinks on Sunday night (and off site).

Where to Eat

There is a refectory at the venue. We stagger events to try and avoid long waits at lunch (which helps a lot), but Friday will be hectic, so you might want to grab some sandwiches from M&S at Baker Street tube on the way in.

Remember – you are in for the long haul so bring supplies with you!

There is also a terrific small café across the road from the University, on the inner circle, called the Garden Café.


9

Thursday night launch event!

OFFICIAL DRINKS THE NIGHT BEFORE THE FESTIVAL BEGINS

September 1st, 7.00pm, Regents University

Join us for a drink on Thursday night as we open LSF 2016…

The Network

LSFConnect.com is our private delegate network where you can connect with other screenwriters, producers and delegates attending this year.

It’s also where we share all the past video sessions – there are around 200 online now.

There are forums, groups and a chat room where we congregate to discuss anything related to the festival and screenwriting.

We recommend you create a profile BEFORE the festival, in fact as soon as possible. The headshot you upload to the network will be used for the delegate book.

There is a two-minute orientation video in the network when you log in – try and watch it. The network will get VERY busy in the run up to the festival, and for about a month after the festival. It’s available year round and you can periodically log in for inspiration or instruction from one of the past session videos.

As we edit session videos from this year, they will be uploaded into the network (it takes around three months to complete them all).

If you missed your invite, drop us an email and Lisa Shelley will sign you up – [email protected]

Watch past videos at http://www.lsfconnect.com/page/video-archive

Read the forums at http://www.lsfconnect.com/forum

Meet other delegates at http://www.lsfconnect.com/profiles/members


10

Access the Submissions, Booking and Info Page

Submissions to ALL initiatives such as the Legal Clinic and Pitchfest Booking are accessible via the 2016 Submissions, Booking and Info Page. All additional delegate information is also available via that page. Log in using the unique password which you have been sent. If you do not have this contact [email protected]

Get access here… http://www.londonscreenwritersfestival.com/delegate-welcome/

Talent Directory

List your details in the talent directory for other screenwriters, filmmakers, producers and agents. The talent directory will be published and shared a few days before the festival. We will send PDF copies to all delegates, all speakers and all pitch execs attending the festival.

You must add your details BEFORE 23rd August 2016 at 23:59. If you do not complete the form YOU WILL NOT APPEAR IN THE TALENT DIRECTORY.

Applications opened on 16th May 2016.

Once you have entered the data you cannot change it so take your time to get it right. We will copy your photo from the delegate network (please ensure you have a photo in the network).

NOTE: Some of the data you give us will be left out of the delegate book, but it will be used by the festival to get a better picture of our delegates so that we can apply for funding next year. This is data such as your age group, gender and where you are from.


11

Speakers, Pitch Execs and Cast and Crew

In case you missed them on the site you can check out the professionals attending…

Please note that these lists are constantly updated so check them regularly as some speakers will drop out due to work commitments.

Speakers here: http://www.londonscreenwritersfestival.com/speakers

Pitch execs, producers and agents here: http://www.londonscreenwritersfestival.com/britpitch

Actors and Directors for the Table Read here: http://www.londonscreenwritersfestival.com/actors-and-directors

Sessions list here: http://www.londonscreenwritersfestival.com/whats-on/sessions


12

The Great British PitchFest 2016

What is it? An opportunity to meet and chat with influential agents and active producers. The people who have the power to make your projects happen.

If you are successful in booking, you have the opportunity to pitch your project to agents, producers or commissioners in ONE of our 90 minute, limited pitching sessions. This means face-to-face time with the very people who could launch your career, option your script or offer insight into how to improve your pitching techniques. We will send out an email with information regarding how to book a session so please keep an eagle eye out!

NOTE – We have added an additional day of pitching on Thursday the 1st September to help with numbers.

Who You Can Expect To Be Present

We are flying in top agents, producers and executives from Hollywood studios who will be joined by the cream of the British film industry, as well as hungry and emerging producers looking for new relationships.

You can find a full list of execs, producers and agents here…

http://www.londonscreenwritersfestival.com/britpitch

The Pitchfest Booking System goes live at midday (UK time) on Saturday 27th August 2016. The hottest sessions usually fill up within minutes of the system going live, so be prepared.

You can see the system here but it’s NOT live until 27th August…

http://www.londonscreenwritersfestival.com/pitchfest-booking

Some notes to manage your expectations.

• The execs, producers and agents may shift around or even drop out.

• We will continue to add new execs, producers and agents in the run up to the festival.


13

• Sessions last 90 minutes and as a delegate you may choose JUST ONE.

• We try and have a ‘delegate-to-exec’ ratio of three-to-one in every session. Please note this is dependent on their availability. We do our best to make it even but it is not always possible.

• Thursday and Friday will be intense and busy, Saturday less so, Sunday even less so.

• If this is your first pitching experience, consider Saturday or Sunday as they will be less intense and you can get tips from other delegates.

Remember, you may only book ONE pitch session at the PitchFest and the system to book your place goes live on Saturday 27th August 2016 at midday, UK time.

On the Day of Your Pitch

• Turn up ON TIME to your pitching session.

• There will be around 10-14 execs, producers or agents present for you to pitch to.

• There will be around 30 delegates pitching.

• The session lasts 90 minutes.

• Pitches rotate every five minutes, so make those minutes matter.

• There will be a queue for each pitchee, so choose who you want to pitch to and get in line.

• Once you have pitched, choose who you want to pitch next and get in line.

• Do the maths, you will get between 3 and 8 pitches depending on which queues you join. Be tactical.

• Get there early to be first in line!

• After each session, if a pitchee wants to discuss your project further, it’s up to you to get contact details and follow up. We will not supply their contact details later – so please don’t ask!


14

Hollywood Pitchfest via Skype

Get to pitch – face to face over Skype – with Hollywood producers and execs. Sessions are 90 minutes and you should get around 7 or 8 pitches in during that time. It’s the same rules as the Great British Pitchfest, only it will take place over Skype in the evenings of the festival.

Friday: 6.00 – 7.30pm Saturday: 8.00 – 9.30pm

This is the second time we have run the Hollywood Pitchfest and anyone who has used Skype will know there is a high chance of dropped and failed calls. So if you decide to try and book this session, you must be prepared for things to go wrong. Fingers crossed they won’t… This is one way we are making more slots available for delegates at the festival. Please bring electronic versions of your writing / sales material. Bring anything that you can have ready to email execs who are interested in your project.

http://www.londonscreenwritersfestival.com/whats-on/sessions/hollywood-pitchfest-via-skype

* Pitching Thursday (Evening) Note

We recommend STRONGLY that you also sign up for Pitching Thursday (Evening) with Pilar Alessandra – get pitching tips from the top guru on the planet.

Ask others in the network, she is simply AWESOME! Sign up below.

This is not the same as The Great British Pitchfest. This is a day of pitching expertise in order to help you in your future career.

You can pick up your pass for LondonSWF, go to Pitching Thursday evening class then join us for drinks after in the Final Draft Tent – the class is just £20.

http://www.londonscreenwritersfestival.com/whats-on/sessions/pitching-thursday-londonswf-festival-one-day-week-workshop


15

PitchFest Room Layout (Room A201)

The Pitchfest will take place on the top floor of the Acland Building in room A201 (opposite the Actor’s Table Read rooms). Queuing will take place outside the room and leading down the stairs.


16

The Actors’ Table Read

The actors’ table read is an opportunity for you to get your screenplay worked on by professional actors and a director. This has proven to be our most successful initiative to date with 99.8% positive feedback from the 200 people involved last year.

If you submit a script to the process and you are selected, you will attend a one hour session where the director and the actors will work on one sequence (between 3 and five pages) of your script.

These are closed sessions and they run throughout all three days of the festival. Submissions open on 6th June 2016 and close 15th July 2016. Successful applicants will be announced on 18th August 2016.

You can submit your script here…

http://www.londonscreenwritersfestival.com/atr/

Other Stuff You Might Want to Apply for

Throughout the festival there are a number of focussed ‘opt-in’ sessions and initiatives. You will need to apply for some and deadlines may be fast approaching, so take action now.

ALL BOOKINGS GO VIA THE BOOKINGS, SUBMISSIONS AND INFO PAGE

http://www.londonscreenwritersfestival.com/delegate-welcome


17

Advanced Mentoring Script Labs

Apply for our Advanced Mentoring Script Labs where you receive three hours of mentoring from an expert. All labs run for three hours (Day and time TBC). If you get into a lab, you will of course miss sessions on Saturday morning, but most are filmed anyway and made available later inside the network. If you want to pitch at the PitchFest, that means you will also need to avoid that Saturday morning slot and choose one either later on Saturday, or on the Thursday, Friday or Sunday. The labs DO NOT run at the same time as the Actor’s Table Read, so no clash is possible there.

More information on labs here: http://www.londonscreenwritersfestival.com/whats-on/sessions/script-labs

Deadline: opens 4th July 2016, closes midnight 31st July.

The 2016 British Screenwriters’ Awards

It was about time someone put the originators and architects of great storytelling front and centre. We rose to that challenge in 2014 and launched the British Screenwriters’ Awards.

This year at the London Screenwriters’ Festival we will run the third British Screenwriters’ Awards, honouring outstanding writing from newcomers and established screenwriters in both film and television. And again we will be expanding categories this year too, championing even more great screenwriting. Hosted by comedian Rhona Cameron, you can be sure it will be a star-studded night to remember, so please come along on Saturday 3rd September at 7.30pm!


18

Script Surgery / Euroscript

Get one-to-one script feedback on your screenplay from an experienced Script Doctor. Euroscript have around 100 one hour slots available on a first come, first served basis. Firstly, you need to submit your script for consideration: Booking opens on Monday 4th July and closes on 12th August. Successful applicants are announced on 16th August after which they can book a slot with a reader. http://www.londonscreenwritersfestival.com/script-surgery/

NOTE: Slots can go within the first few hours, so be ready to act. If you are successful you will then need to upload your script or idea immediately after booking your slot so be prepared or you will lose it.

We also operate a drop-in desk during the festival. So if you want to just rock up with your script, get some feedback or ask for career advice, head over to the Script Surgery and book yourself a slot in one of the drop-in sessions.

www.londonscreenwritersfestival.com/whats-on/sessions/we-will-read-your-script

Script Chat

It’s one thing sitting in an audience listening to that producer, agent or writer… it’s an entirely different thing getting real face-to-face time with them. That’s why we setup ‘Script Chats’ – special, intimate and informal chats with speakers that take place directly after their sessions.

At the end of each session there is a half an hour break where you can spend time chatting to speakers in depth. And you are not limited to half an hour, these sessions have often run on for an hour and a half. You do not need to book a place at the Script Chat sessions, just turn up (be aware that sometimes it can get a little busy). Please note that not all speakers will be available for Script Chats. Sessions that will have a ‘Script Chat’ will be marked accordingly in the schedule. http://www.londonscreenwritersfestival.com/script-chat-2/


19

All getting too much?

Visit our resident masseuse in the Final Draft marquee for a world class 15 minute, revitalising head and shoulder massage.

Bookings can be taken at the Registration stand after 10:30 on Friday at the festival.

Running out of juice?

Throughout the Final Draft Marque on sponsor tables you will see smartphone charging stations where you can recharge your devices.

There are around 50 USB slots available, so hunt one down and get your self back to 100%! You will need your own device cable to recharge.

Don’t Dehydrate!

Bottled water can become expensive over the three days, so plan to bring a bottle and refill at one of the three filtered and chilled water fountains onsite. You can see their locations on the venue plan.

Final Draft Genius Table

Got a Final Draft question you need answering? Need a bit of help getting to grips with the features? The lovely people from Final Draft will be at the festival and you can drop in at any time to get some world class expert help from them. Located in the main Marquee.


20

Sessions That Require Advanced Work

During the festival there are a number of sessions that require a bit of prep work to get the most from them. The complete schedule will be going live in mid August - http://www.londonscreenwritersfestival.com/schedule

Script To Screen Sessions

We will be running a number of Script To Screen sessions at the festival.

The idea is simple. We send you the shooting script that was used on set, you read it, then watch the film on DVD at home, then attend the session where we deconstruct the journey of the project from idea, script, shoot, edit and final distribution.

All scripts can be downloaded via the Submissions, Booking and Info Page.

http://www.londonscreenwritersfestival.com/delegate-welcome/

Script To Screen LIVE

Our Script To Screen LIVE events are where we play the film and discuss it with the writers on stage, in real time. We suggest you print the script and bring it with you for these AMAZING sessions.

All scripts can be downloaded via the Submissions, Booking and Info Page.

http://www.londonscreenwritersfestival.com/delegate-welcome/


21

The Pitch Factor

Feel the fear and do it anyway! Pitch in front of a live audience and win CASH!

Put £5 in a hat and pitch your script in front of a panel of industry professionals at our annual Pitch Factor, a relaxed and friendly environment where delegates pitch their project in two minutes or less. You do not need to book for the Pitch Factor, just turn up.

Legal Surgery

Do you have legal issues you need a lawyer to help you with? All delegates have the option to apply for legal advice at our legal clinic, run by Blue Pencil Media.

You can ask any question you like and their legal team will do their best to answer your concerns. We are running an application process for the limited slots over the festival. Apply below.

Submissions are open on 27th June 2016 http://www.londonscreenwritersfestival.com/delegate-welcome/

Deadline is 9th August at 6:00pm

The Elevator Pitch

The idea is simple - the elevator doors open, you step inside only to find yourself alone with a top executive… You have 90 seconds to get them to accept your business card!

This micro workshop, based on the popular myth of writers meeting execs in elevators, is a great opportunity to try out your fabulous 90-second pitch. You might get an invite to submit your work, you might not… but you will certainly get an experience you won’t forget! The session runs on a first come, first served basis and you will only find out who is in the elevator when you step inside.

Feel the fear…. And do it anyway!


22

The Writers Room

The Writers’ Room is a long established Hollywood convention that is utilized in the creation of both TV Drama and Comedy TV series, and now even feature films.

The Writers Room at LondonSWF is a one day pre festival event where will fling successful applicants right in at the Screenwriting deep-end by recreating a Writers’ Room experience. This will give successful applicants a look behind this slightly mysterious curtain and give them a real life experience of collaborative creative writing under pressure and at it’s best; all under the guidance and leadership of some of the best professional Showrunners working in the UK today. Speed Networking

Make new relationships FAST in our structured Speed Networking event.

It’s tough to work an entire room at one event, there are just too many people to meet, and social convention dictates that you’re more likely to spend more time spent stuck in a polite conversation with someone you know you’ll never work with rather than working the room to find the people you will. The answer for us is our organised Speed Networking.


23

Festival Week

In the run up to LSF we are running three ‘one day’ events. So you can make a week of it!

Networking Tuesday, work the room with confidence: Day 1 of Festival Week

Talent is great but relationships get you hired. The ability to create powerful new relationships in any given situation is one of the primary factors in the success of your career and that of any screenplay that you write.

Yet ‘networking’ is an essential skill to master and arguably the biggest hurdle you must overcome in order to find the success your hard work deserves. That’s why we have created this one day workshop in the run up the London Screenwriters Festival called ‘Networking Tuesday’. We know how important it is and we are committed to you getting the most from the upcoming festival.

Date: Tuesday 30th August Time: 9.30am – 6pm Tickets: £48.50 http://www.londonscreenwritersfestival.com/whats-on/sessions/networking-tuesday-work-the-room-with-confidence-day-1-of-londonswf-festival-week


24

Advanced Structure with John Yorke: Day 2 of Festival Week

The number one reason why great ideas, characters and stories fail at the final hurdle is poor structuring. In one day, shift your project from a great idea that is well executed into one that meets the needs of the film and television industry.

Date: Wednesday 31st August 2016 9:30am to 6:00pm Tickets: £48.50 http://www.londonscreenwritersfestival.com/whats-on/sessions/advanced-structure-with-john-yorke-londonswf-wednesday-2

Writing the TV Pilot that Sells with Jen Grisanti: Day 3 of Festival Week

Jen Grisanti has developed a story system that has led 40 of her clients to sell their pilots. Five of them went to series. In this outstanding one day masterclass, Jen will share with you her system of story that has proven so successful.

Date: Thursday 1st September 2016 Time: 9:30am to 5:45pm Tickets: £99 http://www.londonscreenwritersfestival.com/whats-on/sessions/writing-the-tv-pilot-that-sells-with-jen-grisanti


25

Pitching Thursday (Evening) With Pilar Alessandra

Pitching Thursday is back! Our pre-festival, killer pitch event fast-tracks you for the weekend of pitching that lies ahead. Get fully ready for your Pitchfest experience with Pilar.

“Absolutely inspiring and stimulating! It helps even the shyest guy in the world to gain a startling self-confidence in pitching. It’s also a good exercise to test the real value of your writing.” Giordano Trischitta (Pitching Thursday 2012)

Date: Thursday 1st September 2016 Time: 6pm to 8:45pm Tickets: £20.00 http://www.londonscreenwritersfestival.com/whats-on/sessions/pitching-thursday-londonswf-festival-one-day-week-workshop


26

Accommodation for LondonSWF (onsite)

we are now able to offer cut price AND on-campus student accommodation courtesy of Regent’s University Student halls.

Staying on campus is a sure fire way to not only save valuable sheckles, but you’ll highly increase your networking opportunities after hours with over 200 other delegates after everyone else has gone home.

Reid Hall at Regent’s University offers a selection of single, twin and triple rooms at the following prices:

Single Room: £64.50 per person per night

Twin Room: £54.00 per person per night

Triple Room: £47.00 per person per night

To book or for more information, please contact [email protected]

More information here… http://www.londonscreenwritersfestival.com/stay-onsite-at-londonswf-with-the-new-accomodation-offering-from-the-festival

Accommodation for LondonSWF (offsite)

If you are coming from out of town, we only recommend the local Travelodge and AirBnB.

Travel Lodge Euston +44 (0)871 984 6332 1-11

Travelodge Marylebone +44 (0)871 984 6311


27

Final Note From Chris Jones

Holy cow! You can see there is a TON of stuff to do to get the most from the festival. It’s going to be an intense three days, so plan for the marathon.

Being prepared is the best way to get the most from the festival, so get working on your pitches now.

At any given time there are five sessions running along with other events like the PitchFest, Labs, Actor’s Table read etc., so there is a LOT happening. We do film many sessions and those will be marked in the schedule.

Above all, remember to relax and have fun. Talent is great, but relationships get you hired. Making friends is often more valuable than delivering killer pitches or getting business cards from heavy hitters. Screenwriting is a lifelong pursuit and a creative marathon, not a 100 yard dash.

Good luck and I look forward to seeing you there!

Chris Jones

PS… IMPORTANT

Keep an eye out for emails from me that have a heading ### Important message from the LSF Team ###

I will use the three hashtags ### to denote an important operational message, so do please take the time to read them.


28

How To Get The Most Out of the Festival by Lucy V

So, you’re coming to LSF! Congrats. This event is put on by writers FOR writers. We want you to be able to harness the expertise and resources available and propel your writing career forward in 2016.

Every year, delegates ask how to get the most out of LondonSWF, so we asked blogger, script editor and networker extraordinaire Lucy V to give us her top 7 tips for grabbing LSF by the horns.… strap yourself in!

Plan Ahead

Make sure you study the schedule. When deciding which sessions to watch “live”, consider what’s going on at the same time – remember, most sessions are filmed, so it’s not “either/or” and you needn’t miss out altogether.

What’s more, some of the VERY popular sessions (especially those with headliners) will be packed out. In contrast, some smaller sessions may bring more value to you “in the flesh” because less people will be there, meaning you may get some individual attention from the speaker/s, especially via Q&As.

In addition, consider the value of networking within small groups when others are in sessions. I’ve lost count of the number of people who’ve told me, “If I’d gone to see X, I’d never have met Y and now we’re working together on a project!” More on networking, next.

Networking

Lots of writers worry about approaching people at events, or believe erroneously that their fellow writers are not useful to them.

Remember, everyone is in the same boat. Do not huddle together with the people you know, or sit on your own.


29

Try and mingle wherever possible. If you’re not sure how to start conversations, here are 10 easy questions to break the ice:

1. What are you working on at the moment? 2. Have you travelled far / what’s your hotel like? 3. Who are you hoping to meet during the festival? 4. Which sessions did you see today / which did you get the most out of? 5. What do you want to get out of the festival? 6. Do you have any pitching tips? 7. What genres are your favourites? 8. Do you prefer movies, or television? 9. Who’s your favourite actor? 10.What do you think of transmedia/multiple platform writing?

��

Your writer colleagues are your greatest allies – never forget this. Don’t ignore everyone in the hope of catching Joe Eszterhas at the bar, or harangue your colleagues into hearing your practice pitch either.

The more conversations you have, the more likely you will be remembered for the RIGHT reasons… For example: I went to a party, years and years ago. I was writing a horror screenplay and whilst networking, told my logline to about 5 people. By the end of the night, a young producer (whose path I had NOT crossed that night), came over to me and said:

“I hear you have a horror screenplay?”

That horror feature lead to one of my first paid writing assignments. Now, let’s rewind and imagine I’d said to other writers, “Oh this and that” when they’d asked what I was working on. That’s right: that producer, who’d been going round asking who had horror scripts, would never have been told by those writers that I had one. Talk about a no-brainer.

Business Cards

Have some. Do not even THINK of attending LondonSWF without any.

Lots of people ask what should go on their business cards. I recommend a minimal approach: Name, Job Title, mobile number, website, email address.

Social media handles/links to CVs, showreels etc are optional. I always include my Twitter.


30

Avoid funky fonts, overly flashy or shiny cards – remember people will have trouble remembering who is who, so will probably want to write reminders on the back of cards, so make sure there is a blank bit where they can do this.

DO NOT have those itty bitty cards, oversized ones or round ones or whatever. These get lost far too easily.

IN AN EMERGENCY: if you have no business cards or run out during the festival, whip out your phone and ask the person in front of you who they are on Twitter. Follow them immediately. Create a list of people you meet at LondonSWF this way. Not on Twitter? SIGN UP NOW.

Pitching

Let’s face it: for a lot of LSF delegates, it’s all about the pitching. And why not: LSF opens up a plethora of potential opportunities for writers, all in one place. What’s not to like about that!

So, a few things to remember when pitching, especially in the pitchfest:

Make sure you’ve got your thoughts together.

Sit down. Smile. Shake your pitchee’s hand if it’s offered.

DON’T PANIC. No one expects you to be perfect.

Introduce yourself. Tell them: 1) what you’re pitching 2) what genre it is 3) what the audience is 4) the logline [NOTE: If you trip over your words, take a deep breath. Start again.]

Don’t babble. If the pitchee does not seem interested, don’t try and force it. Ask them if they’d like to hear another logline. If they say yes, rinse and repeat the steps above.

If you don’t have another logline, don’t sit there like a lemon. Ask your pitchee something. Have a conversation. I find a great icebreaker is, “What would you like to see more of in the slush pile?” Make a mental note of any recurring themes, genres, or characters etc that crop up if you ask more than one industry pro this question.

And another thing, lieutenant: Give one pagers to your pitchees only if they ASK for them and never, ever foist an entire script on them – or anything else like USB sticks, CDs or photos/props and especially gifts, even if you mean


31

well: it can get really weird. If you have something you want to give someone – my Bang2writers have brought me chocolate in previous festivals for example – give it them in the refectory or similar, not a pitching situation!

Also, make sure you know your logline INSIDE OUT and can deliver it CONVERSATIONALLY and deliver it to all who ask, whether you’re pitching it formally or not. Remember, a logline is a short description of the plot of your story. Whatever you do, do NOT confuse a logline with a tagline, which is the strapline on the front of a poster or DVD box, ie. “In Space No One Can Hear You Scream.”

Taking Meetings

Want to meet someone specific at LondonSWF? The advice is simple:

Email him/her before the festival and arrange IN ADVANCE.

This advice applies whether it’s a fellow tweeter or an industry pro, btw. What’s the worst that can happen? S/he says no, too busy. You’ve lost nothing.

If that person emails back and says yes, they’d be delighted to accept your invitation for coffee, be sure to pick a SPECIFIC TIME AND DATE. I’ve lost count of the number of times writers have said, “Let’s have coffee at LSF!” and I’ve said yes, only to not see them ONCE, despite sitting in communal areas for ages (as I always do). FYI - If you don’t make an appointment with me, that’s fine – tweet me at @Bang2write, and I’ll try and make it to se you. DON’T email, DM or PM me please, these don’t always come through in time.

If you’re not on Twitter, check out the tweet board. I and other speakers will be using the #LondonSWF hashtag too and mentioning where we are at various intervals, which will flash up on screen.

Getting there and back

Leave your hotel in plenty of time. Each day of the festival starts around 9am, so be sure to arrive before this; lots of LSF delegates like to have breakfast or coffee together in the refectory around 8am. Each day finishes around 7.30pm officially, though there’s opportunity to network in the bar ‘til late into the night.


32

Some delegates have to leave earlier than others on the Sunday (especially those with childcare duties, like me), but if you can try and stay for Chris Jones’ closing speech which is usually around 6pm and lasts half an hour, it’s a great, positive way to round off the event.

And last but by no means least…

So if there is a session you are DESPERATE to see firsthand, make sure you get there as early as possible.

Be sociable. Live tweeting is a thing and we encourage delegates to use the #LondonSWF hashtag and share their new found knowledge and insights from the event itself in real time. But do make sure your mobiles are on silent so if they ring, it doesn’t disrupt anything. Equally, those on either side of live tweeters? Don’t accuse them of not listening, or typing too loudly! ;)

Do note volunteers and LSF staff will come in and out of sessions as we try and ensure the smooth running of the event for you behind the scenes. This will be done with the least amount of disruption possible, so please bear with us, thank you.

It can be very tempting to have a few jars as Dutch Courage, but try not to get drunk at the festival. You’ll probably be OK and not offend anyone, spew on anybody or make anyone think you’re odd, but is it worth the risk?

Remember, it’s a small pond. Try not slag anyone off. You never know who knows who. This includes various TV programmes, movies, etc. It’s just not worth it. No one says you have to tell lies about how much you loved a piece of work if you didn’t, but be positive or risk looking like an amateur.

Concluding

Decide what you want … and go get it, tiger! Just remember your loglines, your business cards and don’t be a div. It’s all about making connections and forging those all-important relationships. Good luck!


33

Pitching your screenplay and movie with Signe Olynyk

How to pitch your movie or screenplay, by the gal who has run Pitchfest for a decade!

Like many writers, pitching is something that hasn’t always come easy to me. As someone who has had to overcome tremendous shyness and learn how to pitch in order to get my movies made, there are a few things I have learned that might help others to do the same.

Pitching is a necessary evil. You must pitch if you want your project to be produced. The only sure-fire way to make sure your script never gets made is to never tell anyone about it. But there is hope – you are probably much better at pitching than you think. Never pitched before? Think again. When you go to a job interview, you are pitching. When you convince your friends to see the latest Bollywood film when everyone wants to see ‘Avengers’, you are pitching. When your kids plead for another hour past bedtime to play X-Box… Well, okay. They are pitching you. But you get my point – most of us pitch every single day without realizing it.

A successful pitch must be much more than simply convincing or selling someone on something. The best pitches are conversational – as if you are telling your friends about a great movie you just saw. Conversational means there is an exchange by both parties – sometimes the person you are pitching has questions, or they are engrossed with your pitch and respond with their body language. If you are doing it right, they are engaged and listening to every exciting word you are sharing, and the communication between you and the person you are pitching is filled with give and take. You give by telling about your character’s overall goal, they take by leaning in. You tell them how your character overcomes their obstacles. They gasp. They ask a question. You give an answer. A great pitch is like a dance – but you are the one leading and reacting as your partner responds to you. Give and take, back and forth. Actually, that sounds like something else. But you get my point. You are hosting the meeting, and as such, you control the information that is shared. As the conversation continues, you lead it back to what needs to be conveyed.

One of the biggest mistakes writers make when they are pitching for the first time is that they tell too much information. Shot by shot, scene by scene – this is what causes grey hair to grow, and executive eyelids to droop. But how do you know what is too much? Too little?


34

As my producing partner, the fabulous Mr. Bob Schultz sometimes laments, ‘If I could tell it to you in 90 seconds, why would I have told it to you in 90 pages’? Bob is referring to a logline, which is often described as the one sentence, ‘tv guide’ version of a story. A pitch does not need to be short, but it does need to be succinct. You need to be extremely selective about the finding the true heart of your story, and it is much more difficult to do than one might think. It means stripping away all the hard work you’ve put into your script, and reduce it down to the bare bones in order to pitch it effectively. We don’t need to know your character’s backstory. We don’t need to know who you imagine casting as the lead. All we need are the bones.

And what are the bones? Let’s plot out the skeleton of your pitch.

Title

First, tell me the title of your script. Easy enough, right? Well, not so fast. Here’s what I’m thinking about as a producer when you tell me your title and begin the bones of your pitch…

I am wondering if your title starts with an A, B, C, or maybe a number. Or is there another title for your concept that would? People often rent their films through VOD, Netflix or Red Box these days, and they generally start at the first letter of the alphabet and make their way through the movie selections, starting with the ‘A’ titles and working their way down (or starting at ‘Z’ and working up. Rebels, I know). Distributors also prefer titles with one or two words as they tend to lend themselves more easily to foreign sales and generally translate more easily into other languages. Is it a title that captures the theme of your film (ie ‘Alive’, ‘Misery’, ‘United 93’)? Is it a title that is high concept, meaning you immediately understand what the movie is going to be about, just by hearing the name (ie ‘Bad Teacher’, ‘Buried’, ‘Contagion’)? Although it isn’t always easy to create unique titles that fulfill theme, distribution preferences, and still capture a strong sense of your story, you increase the chance of success for your screenplay if you do.

Genre

Identify the genre of your film. Is it a comedy? Horror? Rom-Com or Historical Drama? An Executive wants to know what genre you are pitching because it establishes the mood for the rest of the pitch, and sets up what they can expect of your story. If you launch right into your pitch about a woman giving birth to a


35

zombie baby, we need to know whether that script is a comedy or a horror so we know how to react as you pitch it. If it is a true life story about your zombie baby, I’m so sorry to hear it. Are the rights available?

Here’s my producer brain again, mulling over what I am listening for and thinking about as you pitch. The most successful domestic films are not always the most successful internationally. For the terms of this article, ‘domestic’ refers to North America, and ‘foreign’ refers to everywhere else. Comedies generally need to have A-list talent to perform well at the box office, and it is difficult for a company to take a chance with a new writer on a multi-million dollar movie. Comedy (including Romantic Comedies & what I call ‘Jerk Comedies’) is also very subjective, and what is funny in North America may be offensive, or simply not translate well into other cultures or languages internationally. Action films are still the most successful genres at the box office, domestically and abroad. However, this genre also tends to be more expensive to produce, because there are so many setups required (number of shots) to successfully achieve many of the sequences audiences expect, and also, because recognizable or A-list cast must generally be attached (translate: bigger budget).

As I listen to your pitch, I am thinking about whether this is a genre I can raise enough money for, is it something I can attract cast to, is it unique enough from every other horror movie out there, and will it sell internationally? Having a sense of what is important to an exec is important because it can help the person pitching to identify the reasons why their script may not be an exact fit for a particular company. You might think an indie producer is kookoo-bananas for not optioning your big budget studio extravaganza that is a brilliant script (it really is!), but factors such as ‘can I raise enough money at this point in my career’ are massive factors that are often beyond your control. My hope is that by sharing some of this information, you will better understand why an exec can’t always come on board your project – even if the script is outstanding. It is often a matter of just finding the right match, and sometimes, well, that just requires luck and perseverance. Happenstance.

But, I digress. I can write more about some of these issues another time. Let’s get back to the bones of pitching.

Protagonist

Now that we know the title and genre, we want to know ‘who is the main character’? Through whose eyes are we experiencing this story? It needs to be someone who we can relate to, and we need to care enough about them and their goal to want to go on this 90-ish minute journey with them. As an audience, we want to


36

experience their growth, and see them evolve. Our favorite movies start with a character who has a certain behavior or world point of view, and through the challenges they face in pursuit of their goal, they evolve to become a different person. By the end of the story, your protagonist’s behavior and world point of view has changed. For better or worse. Experiencing that character growth allows audiences to escape and live vicariously through the characters. That ability to escape and be enlightened to a new character perspective is largely how movies enrich all our lives, and why we go to movies in the first place.

Goal

Once I know the title of your screenplay, the genre, and who the protagonist is, I will want to know what that character wants. What physical, tangible goal are they pursuing? Save the planet from the speeding meteorite? Get the characters off the bus before it explodes? Find the groom before the wedding? Come up with one more cliché goal before I finish this article? Although an emotional goal can be a consequence of this pursuit, the goal must be an actual, physical one. The goal for your main character is not to ‘fall in love’, but it might be to ‘save the swamp’. Falling in love is often the emotional consequence. Sigh. We should all save more swamps. Plus, lizards are awesome.

Obstacles

Okay, now that we know the character’s goal, we need to know what the increasingly difficult obstacles are that stand in the way of him, her, or it reaching that goal. The best screenplays always involve a strong opponent, whether that nemesis is another character or monster, a force of nature, or an establishment. The shark in ‘Jaws’. Jigsaw in the ‘Saw’ movies. Number Six in the ‘Battlestar Galactica’ tv series. The demon in the ‘Paranormal Activity’ movies. Darth Vader is all of these things – a character, a monster, a force of nature, and he represents an establishment. Villains with their own goals and obstacles that conflict with the goals and obstacles of your protagonist are often more relatable and interesting than characters of extreme degrees. The mustache twirling villains and wicked witches of the past are made more human by putting their needs in direct conflict with your hero character. One of my favorite writing exercises is to reverse the roles of my main character and their antagonist, and tell the story from the other character’s point of view. If you’ve seen the broadway version of ‘Wicked’, you will know how successful that exercise can be. To me, ‘shades of


37

grey’ are always more interesting than characters who are pure evil, or pure goodness. Although I enjoy hearing Snow White sing.

Making sure the stakes your character faces are serious enough is often where many screenplays (and pitches) fail. A brilliant script consultant I like to work with on all my projects is Mr. Robert Southhill ([email protected]). He often calls these types of scripts a BOSH. Bunch Of ‘Stuff’ Happens. It’s when one thing after another simply happens to your protagonist, instead of the character striving towards a specific goal, struggling, and overcoming the obstacles that are in the way. Your goal has to be a real, physical, tangible goal that has such dire consequences for your character that we must root for them, and care enough to go on this journey with them. By making the stakes high enough for the character, you raise the dramatic impact of each obstacle.

Making sure that the obstacles in your character’s way are increasingly serious is a way to deepen our commitment to the character and root for their success. If your character’s goal is to drive from Canada to Los Angeles, who cares? But if 2,500 angry writers will tie her to a stake and roast her at a bbq if she doesn’t get there and make sure she puts on a great conference for them, then the stakes are significantly higher. What are the obstacles in the way? 2,700 miles? Construction? Hordes of cattle all over the highway in Montana? Not good enough. The stakes need to be serious enough that it becomes a ‘do or die’ effort. Trust me, it is.

Pitching In general

Like a great movie trailer, the pitch should have a beginning, middle, and an end –without giving everything away. In the beginning, you tell who it is about and what they want. The middle of your pitch is where you tell what gets in the way of your protagonist reaching that goal, and what they did to overcome it. The ending is where you tell the lesson learned, not just the lesson for the character – but the lesson that your audience walks away with, enriched for the experience of having seen your film.

Every pitch is a little bit different. All pitches need to have to have the bones that I already described, but they also need to be tailored to whoever you are pitching. If you are pitching an actor, you want to spend more time focusing on the character. What their character arc is. How they change through the course of your story. You will want to spend extra time focusing on the juicy bits that make the role a character an actor would want to play. If you are pitching an agent, you may also want to pitch yourself and your ability to take on writing assignments, to write fast, and the connections you already have. If you have optioned a property and are pitching an investor or studio exec, you are going to


38

expand your pitch to address casting and foreign sales, and budget details. You’d want to get into who your key crew are, what’s your schedule, your budget, and financial plan. You have to know who you are pitching so that you can adjust your pitch to reflect what they are looking for, and target those needs in your pitch. All pitches should have the bones of your story, and be expanded upon to be able to address the other needs of whoever you are pitching.

The core. The bones. The skeleton. It all means the same thing. You need to know who your protagonist is. What they want. What obstacles are in the way of that goal, and what is the lesson learned.

If you are still nervous about pitching and need more advice, the two best pitch coaches I know are Bob Schultz ([email protected] – Bob runs the Great American PitchFest with me, and is also my producing partner) and the awesome Pilar Alessandra from www.onthepage.tv. Pilar is a pitch and script consultant, and an exceptional teacher who leads ‘Pitching Thursday’ at the LSF. She has one of those ‘fill in the blank’ type of templates that essentially does the work for you. Writers simply fill in the blanks and immediately start pitching. It’s that easy.

Pitching can be terrifying, especially if it is your first time. But before I sign off, I want you to take a hard look at yourself. You wrote this brilliant script. You’ve worked hard to master your craft. And now you’re ready to bring it into the world. Be proud of that. And confident. You have accomplished something amazing, so remember that with every pitch meeting you go into. Now, you just need practice.

Signe Olynyk www.Pitchfest.com

A Screenwriters Guide to Networking

Talent is great, but relationships get you hired.

It’s not about collecting business cards and convincing yourself that those cards equal a relationship – it’s about REALLY connecting with other people in a meaningful way.

That’s why we network. To make new friends within our professional sphere.

So the real secret to networking is to just hang out like you would with friends, But move around the group(s) more systematically. You are looking for people


39

with whom you ‘chime’ (click?), with shared values and vision, people who YOU can help, and lastly, people who can help you too.

The best thing about networking at the London Screenwriters’ Festival is that you are already amongst friends. So don’t be shy.

Networking Events These events work because we all agree to get together in one space at the same time with an implicit agreement that it’s OK to just walk up and start talking. Booze, a darkened room and a bit of music makes it easier.

Don’t be afraid The most important thing to remember is that the person you are approaching is as nervous as you. They have insecurities too. In fact, the real irony is that they will probably be thankful that you came to them, and secretly wish that they were as good at networking as you! Yes I get it, you don’t want to do it. None of us really enjoy it. But films don’t get made in a vacuum and we all need friends. So take the plunge. You will be pleasantly surprised.

Look people in the eye and shake hands confidently When approaching, make eye contact, smile, introduce yourself, shake hands (not limply) and speak up. When someone shakes hands with that ‘limp’ handshake, you are sending a very direct message – I don’t want to touch you. If you mumble when talking, you are simply projecting: What I am saying is not worth listening to. There are plenty other people in the room, why would anyone waste time with someone who won’t shake your hand or speak up? Get out of your comfort zone and COMMUNICATE with confidence and clarity.

Ask a question to start the relationship An easy way in is to ask a question… ‘How are you feeling?’, ‘Did you see that last session?’, ‘How did you get on in your pitches?’ Keep opening questions lighter, more personal and conversational. There will be time after you have made friends to ask about how to send them a script.

Ask questions and listen Don’t launch into how cool you are and how amazing your script is. Doing this could just get you into the competitive cycle of mine is better than yours, and that’s NOT a good way to make powerful new friends and allies. Ask questions. Interesting questions. Even personal questions. Be genuine in your conversation and listen. You’d be amazed how much more likeable most of us become if we just keep our mouths shut for more of the time. When you have something genuinely relevant, illuminating or valuable, of course get involved. Remember, experienced people talk about the industry all the time and most of us can’t


40

compete on that level, we just don’t have the knowledge, peer group and relationships. But talking about ‘the kids’, assuming you both have children, IS somewhere that you will both share expertise, opinion and rapport.

Don’t Stay In One Place Every conversation has a natural life – when that’s over, move on. Don’t linger awkwardly. It’s totally fine to say ‘It was great to meet, and there are so many others I want to meet here too, so I am going say goodbye for now…’ Shake hands, smile and move on. And if someone says that to you, don’t get upset. It’s part of the unwritten agreement we make with each other at these professional events and parties.

Your need to be ‘right’… The need to be ‘right’ is toxic - we can all see it in others, but so rarely in ourselves. Being ‘right’ will shut down conversations, even when you are in fact, ‘right’! So give it up and choose to listen instead. I found out a long time ago that ‘right’ and ‘wrong’ are opinions and not facts.

Compliment honestly, but don’t go overboard Everyone likes to be complimented, so offer compliments. But don’t go overboard, you will come across as a bit desperate. Equally, don’t be disingenuous; we can all spot a bullshitter. And no-one wants to be friends with a desperate bullshitter.

Be with that person When you are with a person, BE with that person. There is a temptation to look over shoulders, eyeing up the next person to network with, but try to avoid it. Listen, connect and communicate. Ninety percent of people cannot or do not do this.

Be a facilitator Think like a producer and introduce others who you know could benefit from the relationship. Facilitating success in others will always pay you dividends in the long run. It also helps you move around the room with great agility.

Be credible You may not know everything about the business and that’s OK. Being credible is about learning and applying that knowledge. It’s about humility and courage. It’s not just about connections and credits. And we all have something to offer. Bottom line, do not bullshit the bullshitters. Anyone with experience has heard every line before, so don’t try and appear more important than you really are. You are you, and you have a huge amount to offer. Don’t sell yourself short by pretending to be someone you are not.

Give and take cards (and follow up) Take business cards and exchange them – but understand that most will end up


41

in the bin. You don’t want to leave with 300 business cards from people you met, you want to leave empowered with FIVE new and meaningful relationships.

Understand What People Want (and that’s you too) We are all human animals and basically want the same thing. When we enter a new relationship (networking) we will ask… What can this person do for me? Can they entertain me? Can they help me get done what I want to get done? Do I feel at home and attracted to them? Can I get some kind of intimacy? It’s what they are looking for. It’s what you are looking for too. Don’t take it personally if people don’t respond to your overtures – not everyone likes the same kind of music, Star Trek quotes, arthouse movies, strong cheese etc… Networking is not right or wrong, it’s just about people connecting. Often we are a tad insecure and a little tipsy too. If you don’t find what you are looking for, smile and move on with effortless grace. There are plenty more people to meet.

Don’t take it too seriously Smile and make friends. It’s not a competition. Successful and powerful networking is just about are chatting, meeting new friends and having you fun. If someone is rude, they are probably insecure, bluffing it, tired and just generally being human. Let it go.

Finally, remember we are all in this game together.

The industry grows the more we collaborate and help each other. Offer help and you will receive it. Be humble and you will be rewarded with genuine relationships. Be bold and courageous and you will find success.

See you at the bar!

Chris Jones


42

Principal Sponsors

Final Draft is the professional’s choice and the entertainment industry standard in screenwriting software. www.finaldraft.com

Bluecat Screenplay Competition: Best UK Screenplay: $1,500, Grand Prize: $15,000! Deadline: November 15th. www.bluecatscreenplay.com

Regent’s University and the School of Drama, Film and Media have played host to the festival since inception in 2010. www.regents.ac.uk

Screenwriting course accepting no more than 12 students per year and offering a rigorous mixture of workshops and seminars. www.alc.manchester.ac.uk

Robert McKee appears in London annually for his legendary STORY Seminar as well as his TV Drama Day (part of his GENRE Seminar). mckeestory.com

ScreenCraft is an LA based screenwriting consultancy and contest platform, providing access to top professionals. www.screencraft.org

An intensive 8-month full-time postgraduate course on TV writing and producing, based in Berlin and taught in English. www.serial-eyes.com

Script Pipeline develops writers for film and television, connecting them with top producers, agents, and managers. www.scriptpipeline.com

Creative Skillset empowers the Creative Industries to develop skills and talent. www.creativeskillset.org


43

Partners

London’s leading provider of practical filmmaking courses, based in Ealing Studios. www.metfilmschool.co.uk

Euroscript offers professional and practical creative screenwriting courses, consultation and screenwriting competitions for film and TV. www.euroscript.co.uk

The Writers’ Guild of Great Britain is a trade union representing writers for film, TV, radio, theatre, books, poetry and videogames. www.writersguild.org.uk/

The Great American PitchFest is an annual event and has been going since 2003! pitchfest.com

Scriptapalooza has been around since 1998, it runs an annual screenplay competition with over $50000 awarded in prizes. scriptapalooza.com

Philip Shelley Script consultancy covers reading, development and marketing, working with writers, producers and production companies. script-consultant.co.uk

Festival Formula strategises film festival submissions for filmmakers. www.festivalformula.com

delegate welcome pack 2016€¦ · 2016 version 2, july 2016 the london screenwriters’ festival...

Documents