2019 Artist Handbook Contents

2019 ARTIST HANDBOOK CONTENTS

Vision and Welcome...... 3

Key Dates...... 5

What is the Fringe?...... 6

Registration ...... 9

Venues...... 13

Artist Opportunities...... 15

Ticketing and Settlement...... 20

Budgeting...... 25

Marketing and Publicity...... 30

Festival Guide ...... 41

The Business Side...... 44

DISCLAIMER The information in this guide is correct at date of publication. All Artist resources are up- dated as new information comes to hand. This document was created by Sydney Fringe and may not be reproduced or copied without prior permission. Full ticketing terms can be found at sydneyfringe.com and represent the most up to date conditions surrounding ticketing and terms.

ARTIST SERVICES SUPPORTED BY

2 VISION AND WELCOME

Welcome 2019 artists!

This year we are celebrating a decade of Sydney Fringe. That’s ten years of local stories, new artists, activations, adventures and experiences. We have grown from a tiny indi arts festival in the Inner West of Sydney to the largest Independent arts festival in NSW annually hosting over 400 events across 21 postcodes during our 30 day festival. We truly are Sydney’s fringe festival. This year we are gearing up for a massive year, pushing the boundaries of what we can achieve further than ever before because we love our city and we love our artists.

Each September culture creators from all over the city join forces with us to demonstrate the type of city they want to live in all year round. As an open access festival our program is curated by our artists for our audiences. Providing an annual snapshot of how Sydney feels, where we are and where we are heading.

Our Sydney is vibrant, experimental, expressive, playful, fun, creative, connected and diverse. We look forward to a day when our creative communities are adequately resourced, effectively supported and valued for the contribution they make to our great global city. Until then we will continue to celebrate together each September as Sydney Fringe works with our community to transform the landscape of our city into unique experiences not found at any other time of the year. From activating unused buildings, unlocking hidden gems and presenting major outdoor activations, the Sydney Fringe Festival connects you to the city in new ways.

This is your city your way.

KERRI GLASSCOCK Fesrtival Director / CEO

3 YOUR MAIN POINT OF CONTACT

Charley Sanders Artist and Venue Services Manager [email protected] 0402 371 004 5 Eliza Street Newtown 2042

4 KEY DATES

ARTIST REGISTRATIONS 1 MAR OPEN

FRINGE MANAGED VENUE 31 MAR EXPRESIONS OF INTEREST CLOSE ARTIST REGISTRATIONS 31 MAR CLOSE

MANAGED VENUE HIRE AGREEMENTS ISSUED MASTERCLASS 1: FUND IT 15 APR

MANAGED VENUE HIRE 30 APR FEES DUE

BRANDING LOGO STRIPS 31 MAY AVAILABLE

MASTERCLASS 2: SELL IT 3 JUN

MASTERCLASS 3: MAKE IT 15 JUL

PUBLIC LIABILITY AND 1 JUL RISK ASSESSMENTS DUE FOR FRINGE MANAGED VENUES

PROGRAM LAUNCH PARTY 31 JUL

PRINTED GUIDE RELEASED 1 AUG AND TICKETS ON SALE

SYDNEY FRINGE BEGINS 1 SEPT

ARTIST ADVOCACY ROUND- SEPT ABLES AND FORUMS

SYDNEY FRINGE FESTIVAL 30 AWARDS SEPT

5 WHAT IS THE SYDNEY FRINGE?

The Sydney Fringe is an open access arts festival, the largest independent arts festival in NSW. Open Access means that anyone can put on a show as part of the festival in September. There is no selection process and the main festival program is not programmed or curated. The Sydney Fringe does not produce any shows that register through our system. We are here to provide you with the resources, support and exposure necessary to make your show a success. The Fringe does produce a few large scale public events, as well as working with with our partners on some of our festival hubs, to bring the city to life throughout September, and make sure everyone knows Fringe is happening. We also use our status as NSW’s largest independent arts festival to advocate for the needs of artists in Sydney. Over the past five years, under the directorship of Kerri Glasscock, the Sydney Fringe team have enabled new open access spaces for artists year round, modeled pilot programes including partnerships with retail, business and government (which keep your costs down), and tirelessly represented the challenges faced by artists to your elected officials. This year is marks a decade of Fringe. In 2019 we want to celebrate with you the achievements of the past decade, and bring our artistic community together to decide what change we want to advocate for in the next decade. WHY BE A PART OF SYDNEY FRINGE IN 2019?

YOUR CITY YOUR WAY Join us in building a vibrant cultural offering by demonstrating the possibilities across our 30-day festival.

Our audiences and artists love new work and new experiences The Sydney Fringe is a great platform to try out new or experimental work or work in development. Our audiences are open and willing for something a little different so use the fringe as an opportunity to develop, test and explore your work. Expanded footprint- 21 postcodes The Sydney Fringe, once a small humble festival in New artists the Inner West of Sydney now spans 21 postcodes The Sydney Fringe is constantly attracting new across Sydney’s North, East, South and West, artists from a variety of backgrounds, mediums giving you greater access to a variety of venues as and skills. Use the Sydney Fringe as a great way well as an ever increasing audience. to increase your network making new connections New audiences with artists and industry professionals. We have an audience of tens of thousands of Multi art forms Sydney siders that visit the Fringe every year The Fringe is genre fluid and a platform for all looking for new work and new experiences. Put artforms. We don’t believe in boxing you in, your art in front of a whole new audience from all allowing you to tag your work with a variety of over Sydney. genres as well as giving you access to artists and audiences from the full spectrum of artforms Activating space and mediums. We also support sepcific genres We are working all year round to find and activate and their needs by creating hubs for both Dance new, under-used and unused space throughout and Circus and Physical Theatre, following their our enormous city. Making sure you have access to success last year. anything from small cabaret rooms to giant empty warehouses, for your traditional to site specific Open access needs. The Sydney Fringe looks to remove as many barriers to getting your art out there as we can. Brand value and reach We are open access, which means we don’t curate The Sydney Fringe Festival is growing and the festival, so if you can put a show on we’ll put audiences know we’re here in September. Be part you in the program. of the noise. Career pathways/development Use the Fringe as an opportunity to set goals, push yourself with new deadlines, to get in front of industry and gain access to our growing range of awards, offering new courses, supported touring opportunities and industry mentorship.

We are more than just a festival We are committed to year-round advocacy work to grow and strengthen the culture and night life of our city. Join us as we invest in the cultural life of our vibrant home. 2018 SNAPSHOT 402 HOSTED SYDNEY FRINGE EVENTS IN 2017 1304 INDIVIDUAL SESSIONS OVER 30 DAYS (23% INCREASE FROM 2016)

Premieres 82% SYDNEY PREMIERES 59% WORLD PREMIERES 66% AUSTRALIAN PREMIERES

Performance experience of majority of artists in each event 26% 0-5 YRS 44% 5-10 YRS 29% 10+ YRS REGISTRATION REGISTRATION PROCESS The Sydney Fringe endeavors to ensure that everyone who wants to put on a show can find a The Sydney Fringe is an open access event. The suitable venue. If you already have a venue great, process to register and communicate with the if you need help finding a venue we’re here to festival and the venues happens mostly in a help. custom built online environment designed specifically by the Sydney Fringe for our artists. YOU’RE THEN BLOCKED FROM GOING ANY We did this to make things as automated and easy FURTHER UNTIL YOUR VENUE IS CONFIRMED. as possible for you. Whether your venue ends up being a Fringe Hub, You will need to consider your answers carefully a registered venue or a venue you found yourself, as the information will be used to populate your once your venue has confirmed your event, the event page when the site goes live to our ticket final Steps of the online system will open up. buying audience. THERE’S MORE INFORMATION ABOUT THE Our EVENTOTRON portal makes it much easier THREE VENUE OPTIONS UNDER THE VENUES to connect with other national and international SECTION OF THIS HANDBOOK. festivals when you’re thinking about taking your STEP 4: Sessions show on the road. Most importantly, it’s easy to By now, you will have discussed your contract and use. fees with your venue and can enter in the Session STEP 1: Create an account + create an event (dates and times) that you have agreed on as well Once you have registered with your email address, as ticket categories and prices. you will be sent a password to your email. Use that THERE’S MORE INFORMATION ABOUT password to login to EVENTOTRON. Once logged HOW TO PRICE YOUR TICKETS UNDER THE in, click + ADD EVENT. TICKETING AND SETTLEMENT SECTION OF THIS STEP 2: Enter Producer and Show Details HANDBOOK This is where you tell us about you and your event. STEP 5: Festival Guide We’ve kept the questions as simple as possible You’ll be able to upload your final copy and and you’ll be guided through the process with imagery for the Festival guide and see a LIVE progress bars in each section. PREVIEW of exactly how your listing will appear in STEP 3: Enter Venue Requirements and Pay Par- the guide! ticipation Fee STEP 6: Approval + Sign-off The Venue Requirements section is where you In Step 6 you will be able to sign off on your event, provide us with information about your venue, or approve how it will appear in the guide, and sign what you need in a venue. the ticketing conditions. The final question of the Venue Requirements lets you read and sign on to the 2019 Event Presenter Terms and Conditions. INTERNATIONAL PERFORMERS Once you’ve provided all your event and venue The Sydney Fringe welcomes International needs and paid your participation fee your event Performers. The Registration process is the same is officially a part of Sydney Fringe 2019. as for a local performer, but you will be required to answer a few more questions relating to financials In 2019 the Venues page gives you three options: and taxation (For further information refer BYO Venue: You can let us know that you have “Ticketing and Settlements”) secured your own venue and be linked with them If you are an international performer, you are in the system, responsible for ensuring that your have the correct Fringe Hubs: You can apply for a place in a Fringe Visa’s to perform in Australia. The Sydney Fringe Hub, can offer limited support in the area of Visa’s. Please contact [email protected] for Or further information. Venue Matching Help: We can help you find a venue.

10 EVENT GENRES AND OTHER TAGS When you register your event you’ll need to select from the following genres:

PHYSICAL THEATRE FILM THEATRE VISUAL ARTS & CIRCUS

MUSICAL THEATRE MUSIC DANCE FRINGE KIDS & CABARET

SPOKEN WORD WORKSHOPS COMEDY & POETRY & TALKS

This year, we have a focus on accessibility for diverse audiences, and accessibility to diverse stories. You’ll also be asked to select if your event includes any of the following access options, or subject matters. The access tags will be visible through the ticketing system along with genre tags, while the story and content information allows us to better understand your show:

STORIES AND ACCESS TAGS CONTENT

Culturally and Linguisti- Wheelchair Accessible cally Diverse People

Auslan Interpreted Per- Indigenous Australians formance/s

Audio Described Per- People With A Variety formance/s of Abilities

Relaxed Performance/s LGBTIQ People

Older People

Younger People

Women

Men

11 PARTICIPATION FEES Our 2019 fees are:

1-3 SESSIONS 4-6 SESSIONS 7+ SESSIONS

PERFORMANCE $268 $397 $491

VISUAL ART $268

Participation fees are GST free Participation fees are non-refundable. Please think carefully about the amount of sessions you select.

What does my fee get me? • An event listing/tile in the Sydney Fringe printed guide (40,000 distributed in 2018 throughout metropolitan Sydney and beyond) • A unique show page with ticket buying click-through on the Fringe Website sydneyfringe.com • Ticketing and box office management provided by the Sydney Fringe • Access to discounted advertising through Fringe Sponsors where possible • Free access to all Artist Masterclasses and Artist Advocacy Forums • The potential to be highlighted in Fringe features and advertising, in media partner publications and online, where possible • Artist Passes - access to see most shows for free, food and drinks. Discounts at a range of Fringe venues and more goodies to be confirmed. Events for which the artist passes can’t be used will be published on the Sydney Fringe website in August. • Discounted / Free access to training and fitness with a range of Fringe partners, including Legs on the Wall. • Eligibility to be considered for a Fringe Award • Access to touring networks • Access to ticketing promotions • Inclusion in ‘what’s on this week’ Social Media promotion • Please note: Artists are responsible for all of the presentation, production and marketing costs relating to their events. Your event is not official until payment of the participation fee is received.

12 VENUES

13 THREE WAYS TO FIND A VENUE There are now three ways you can go about finding the perfect space for your show:

BYO VENUE APPLY TO A FRINGE HUB If you know what venue (or venues) you want to The Sydney Fringe and our partners manage perform in, we encourage you to contact them several venues during the festival. directly and book it in! Fringe Hubs are venues managed by the Fringe On our website you’ll see a list of venues who’ve and our partners, such as Legs On The Wall, The expressed interest in hosting fringe acts, and after Old 505, PACT and Actors Centre Australia. Artists Step 3 in Eventotron you can see more details programmed in these venues will be charged a about those venues and apply directly in the straight venue hire fee and will receive 100% of system. We suggest you also give them a phone box office less any other applicable charges, and call directly to open lines of communication. GST if applicable. In these cases your main point of contact for In 2019 you can apply to a specific Fringe Hub in anything venue related is the venue manager. EVENTOTRON. Fringe can of course support you if needed, but your event will be subject to a direct agreement between the artist and the venue in regard to 2019 FRINGE HUBS venue hire. • THE EMERGING ARTISTS SHAREHOUSE Depending on the venue, a number of hire (Erskineville Town Hall) structures may exist. Some of these include: • TOURING HUB (The Old 505, Newtown) 1. Straight Hire - Venues charge a fixed at rental • LEGS HUB (Physical Performance at Legs per week On The Wall, Lilyfield) 2. Box Office Split - artist and venue split the box • AERIALIZE HUB (Community Circus Hub) office takings to account for venue hire • DANCE HUB (ACA in The Italian Forum, 3. Straight Hire / Box Office Split - venue charges Leichhardt Wks, 1 & 2) a cheaper rental fee plus a share of box office • GRADUATE HUB (ACA in The Italian (e.g. 10 or 15% of box office) Forum, Leichhardt, Wks 3 & 4) 4. No Venue Hire – Some might offer you the • FRINGE KIDS (ACA ACA in The Italian venue for free. There may still be charges Forum, Leichhardt, Wks 3) for tech, equipment, staff etc. Some venues will waive venue hire for events they feel will • EXPERIMENTAL HUB (PACT, Erskineville) generate other revenue streams e.g. a bar. • QUEER HUB (Red Rattler, Marickville) If the venue you want to perform in hasn’t • + UP TO 10 SPACES IN HUBS AROUND registered with Fringe you can still approach THE CBD AND INNER EAST TBC them and perform there. Just note that this year the venue manager will need to register in the Eventotron system – it’s a quick easy process (like a simpler version of the artist’s registration) and they can do this in April if you’re still figuring out the details during your registration.

If you’re not sure which is the best option for you: we’re here to help! After registering, apply to the ‘venue’ called VENUE MATCHING ASSISTANCE. Our Artist Services team will give you a call to discuss your show and will recommend a venue – it might be a Fringe Hub or a registered venue. We’ll then work with you to start a relationship with the venue and secure your season. If you ever need assistance or want advice on the new venue process give us a call on the Artist Services Mobile 0402 371 004

14 ARTIST OPPORTUNITIES

15 E-BULLETIN & OPPORTUNITIES This year we’re expanding our artist pass programe – so you get more bang for your You’ll receive regular bulletins with key deadlines, registration buck. new opportunities and extra support for all those nuts and bolts along the way. They will be sent Free Rushtix: straight to your inbox so read them carefully and If there’s an empty seat at a Fringe show, you can stay in the loop. fill it for free as a Fringe registered artist. This is This year we’ll also keep in touch by text message our way of helping artist to support each other – so that if something’s really important or exciting and to experience the work the Fringe artistic there’s no chance of it getting lost in a crowded community is making. It is a simple process. inbox or junk folder. Just turn up before the show and if there is an available seat, it’s yours.

AWARDS Food and Drinks Discounts: Thanks to our friends at Young Henry’s, you have Judged by an industry panel of judges, awards for access to a range of discounts on food a drinks at genre excellence are presented on the last day of venues around the city, and especially at lots of the Festival. Fringe venues. Check the website for more details In addition to genre excellence awards, all closer to the festival. registered events are eligible to be considered for Conditions of use: touring awards including : • Your pass will only be issued once - they • Melbourne Fringe Tour Ready Award cannot be replaced if stolen or lost • SYNZ Award (with NZ Fringe) • The pass is not transferable and photo ID may • Perth Fringe World Award be requested. • San Diego International Fringe Festival Touring • If you are suspected of sharing your pass it Award (USA) will be revoked for the duration of the festival. This decision will be at the sole discretion of the • Brighton Fringe Award (UK) Sydney Fringe management. Also for the first time this year, we will announce • You must comply with the Front of House and award nominees on a rolling basis through Box Office policies of the venue you are attending. the festival. Judges will submit assessment from the prior week each Thursday. On Friday • Events for which Artist Passes cannot be used we’ll announce the nominees for that week in for entry will be published on the Sydney Fringe each category in an e-mail blast to our over 10 website. thousand subscribers - giving nominated shows • Collection times for artist passes will be a marketing push, and great talking point to crow advised in artist newsletters about heading into the weekend. • Artist passes will be available from the Sydney The weekly nominees will then become the Fringe office from August 2019, times will be shortlist for the final awards, to be held on advised in artist e-bulletins. September 30th.

ARTIST PASS

16 PRODUCER MASTERCLASSES AND NETWORKING NIGHTS - FUND IT. SELL IT. MAKE IT. A 3-part Masterclass series presented in partnership with NIDA is designed to provide detailed hands-on advice to guide you through producing your event. We will provide you with additional printed resources, worked examples, and an opportunity to ask questions and hear from guest industry experts. The masterclasses align with key festival dates to provide the support you need as you work toward target deadlines. And why stop there? We’re hosting all masterclasses in one easy to get to location. Each masterclass will be followed by the opportunity to network with other artists over a drink from the bar. The National Institute of Dramatic Art (NIDA) is pleased to continue our partnership with the Sydney Fringe Festival which this year as the o cial partner of the festival’s Producer Masterclass Program, in addition to the sponsor of the Emerging Artist Hub. Through this partnership, NIDA continues to play a profound role in empowering Australia’s storytellers and cultural leaders. - NIDA

FUND IT Fundraising and Budgeting When: Monday 15th April, 6-8pm Where: Old 505 Theatre, 5 Eliza Street Newtown

Successfully managing a budget is essential to producing arts events.1 This workshop will guide you line-by-line through your budget, give you tips for reducing your costs and optimising your revenues, and leave you feeling confident about the financial control of your project. This workshop will also help you to create a funding strategy by taking an in-depth industry look at your funding options. We’ll take a detailed look at Sponsorship, partnerships, grants, private giving and crowd-sourcing. Key Ideas: EXPENSES, REVENUE, CONTINGENCY, ARTIST FEES, TAX AND LEGAL OBLIGATIONS, RECORD KEEPING, SPONSORSHIP, GRANTS, PHILANTHROPY, FUNDING STRATEGY, CROWD-FUNDING

17 SELL IT Marketing, Publicity + Social Media When: Monday 3rd June, 6-8pm Where: Old 505 Theatre, 5 Eliza Street Newtown

We’ll equip you with Marketing essentials and focus on creating a2 marketing campaign and creating strong marketing collateral. Learn how to sell your event to media and the press. Create effective publicity kits and generate audiences through a range of strategies. Having a successful social media campaign is essential to standing out in the Fringe. With most Arts audiences online, you need to know where to post, how to post and what will get you the right attention

Key Ideas: MARKETING STRATEGY, ADVERTISING, IMAGERY, COLLATERAL, PUBLICITY, PRESS RELEASE, REVIEWS, EDITORIAL, RADIO, SOCIAL MEDIA PLATFORMS, MEDIA ‘STORIES’, MOVING IMAGE, FACEBOOK, TWITTER, INSTAGRAM, WEBSITE, BLOGS

MAKE IT BARE-BONES LIGHTING, SOUND, DESIGN AND DIRECTION When: Monday 15th July, 6-8pm 3 Where: Old 505 Theatre, 5 Eliza Street Newtown

How do you create bold and exciting work on limited budgets and in pop- up, low infrastructure or immersive spaces? This production 101 Masterclass is hosted by expert teachers in design, sound, lighting and direction. Learn some trade secrets, be inspired by some out-of-the-box ideas and embrace bare-bones and low-fi performance and the doors it opens rather than closes.

Key Ideas: BARE-BONES PERFORMANCE, LIGHTING DESIGN, SET DESIGN, SOUND DESIGN, EQUIPMENT FOR LOW-FI SPACES, IMMERSIVE PERFORMANCE, SITE-SPECIFIC PERFORMANCE, DIRECTING IN UNUSUAL SPACES, TRAVERSE PERFORMANCE, IN THE ROUND PERFORMANCE.

18 Become your creative best

Acting – Costume – Cultural Leadership – Design Directing –Musical Theatre – Props – Production Scenic Construction – Writing and more

→ Master of Fine Arts → Bachelor of Fine Arts → Vocational Diplomas → Part-time studio courses → Weekend courses → Evening courses

Join the creative community at Australia’s leading institution for dramatic arts education and training. nida.edu.au

Higher Education Provider ID: PRV12052 CRICOS Provider Code: 00756M RTO Code: 90349 TICKETING AND SETTLEMENT

20 FEES AND CHARGES WHAT FEES DO CUSTOMERS PAY? WHAT DO YOU (THE ARTIST) PAY? Customer Booking Fee Artist Inside Charge All tickets Sydney Fringe sells through Sydney Fringe does not charge any inside sydneyfringe.com and at Sydney Fringe manages charges to registered artists for ticketing services. venues are subject to a $4 customer booking fee. However this year, in service of our Audiences, the These fees are payable by the customer at the advertised ticket price will include the customer point of sale, but this year the booking fee should booking fee. be included in your advertised price. Last year our audiences told us that including fees in advertised prices was their main priority for improving the booking system – they’re happy to pay the fee, but they don’t want to do maths!! There’s also a small credit card fee of 2% (GST Inclusive) per ticket sold online. Keep this on the ‘outside’ (not included in the advertised price), because it fluctuates between price points.

BREAKING IT DOWN TO ACCURATELY SET YOUR TICKET PRICE

The Customer Booking Fee should be passed on to the customer and not incurred by you! Making art can be expensive and audiences appreciate this. Using an average of 30% capacity houses over your season is a good guide when working out what box office you need to recoup in order to break even with your projected income. The average ticket prices at the 2018 Sydney Fringe Festival were around $22 Adult and $16 Concession before fees. Usually Group and Preview ticket prices are similar to Concession tickets (there’s more info on budgeting later in the handbook). The price you advertise on your flyer and poster should be the same one you advise us of THE PRICE, that we print in the Fringe Guide and put on the website. As most Sydney Fringe artists are NOT registered for GST, the Sydney Fringe will need to retain this amount to pay to the government on your behalf. Also remember that the government and banks charge GST and Credit Card fees as percentages. This can make for messy ticket prices, so we recommend rounding up, which has the added bonus that you make a few cents extra per ticket! Ticket price is entirely up to you, but if you’re wondering what to charge below are some recommendations, and a breakdown of what you will actually receive per ticket. See table on the next page.

21 TICKET PRICE BREAK DOWN

YOUR PRICE + GST + CUSTOMER INCOME ADVERTISED + CREDIT FINAL PRICE TICKET FEE REQUIRED PRICE CARD FEE

What you +10% +$4 What you THE PRICE IN +2% What the need to make charge inc. THE GUIDE customer pays in the end fees

AN EXAMPLE OF A BIGGER MORE EXPENSIVE SHOW: You need to make at least $25/ticket on average. Go a couple of dollars over for Full Price and a couple of dollars Under for Concession.

Full: + $2.80 + $4.00 $ 34.80 $35 + $0.70 $ 35.70 $28 Concession: + $2.20 + $4.00 $ 26.20 $27 + $0.54 $ 27.54 $22

AN EXAMPLE OF A SMALLER SHOW: You need at least $20/ticket on average. Go a couple of dollars over for Full Price and a couple of dollars Under for Concession.

Full: + $2.30 + $4.00 $ 29.30 $30 + $0.60 $ 30.60 $23 Concession: + $1.70 + $4.00 $ 22.70 $23 + $0.46 $ 23.46 $17

NB: If you are not registered for GST, your settlement (ie. what you received for ticketing income) will be GST exclusive.

PRICE CATEGORIES The Sydney Fringe has set the ticket categories that you will be able to select when inputting ticket prices in the registration system. Please note that your event does not need to include all price categories. PREVIEW CONCESSION Discounted tickets for any sessions prior to Priced lower than a standard adult ticket, and the official opening of your season. Ticket applicable for holders of concession cards price should be set lower than the normal (pensioner, senior, student, unemployed). adult ticket and be the only price available for the performance.

ADULT ALL A standard ticket price category that should If you are only charging one price for all be applied to all sessions except previews. tickets. It should be the only price you add.

CHILD GROUPS 6+ A discount for groups booking more than 6 For children 12 years and under who will tickets, set lower than an adult ticket price. occupy a seat. Children 2 years and under Tickets must be purchased in one transaction are free on lap. for discount to apply.

22 COMPLIMENTARY TICKETS SETTLEMENT This year we are giving you the power to manage Sydney Fringe utilises services of I Wanna Ticket your own comp tickets. Each show will be given (IWT) to manage ticket sales. IWT commit to a unique discount code that will allow you to settle to the Sydney Fringe within two weeks of remove all costs associated with as many tickets each event conclusion. Settlement is contingent as you like through the Sydney Fringe Buy Tickets upon receipt of funds from IWT. page . Please make sure that these comps are Settlement of your ticket sales should be entered in prior to the 5pm ticket sales cut off for completed within four weeks of your last each day. session/performance, provided that all required documents and information have been provided. RUSHTIX This includes: For last minute ‘bums on seats’ you can offer • Your end of season artist survey (this discounted rushtix to your show on a performance document is incredibly important for our by performance basis. You can set your Rushtix at advocacy work and reporting. It doesn’t take whatever price you like. long!) Rushtix will be available for purchase from 11am on • A written record of Door Sales for your the day of the performance only. performance/s (This does not apply to For Rushtix to be entered in our system, you will Producers performing in Sydney Fringe need to email our Box Office Coordinator by 3pm, Managed Venues). the day before the performance for which you • A valid and active ABN or a Statement by would like Rushtix activated. a Supplier, your GST status, bank account You are able to activate Rushtix in advance, for number, name and BSB. These details should example for all of your performances, but they will be provided during the registration process. only appear from 11am on the day of each session. GST

To activate Rushtix, email our Box Office If you are not registered for GST, your Settlement Coordinator at [email protected] will be GST exclusive. from 15th Aug 2019. INTERNATIONAL PRODUCERS PERFORMING IN AUSTRALIA TICKETING DATES International Producers must be aware of the 15th July - Some early-release tickets to Fringe taxation requirements and laws for performing Partners and earning income in countries where they are 1st August - Tickets on sale to the general public not citizens. The Sydney Fringe reserves the right to withhold or deduct tax from the Settlement SALES AND DOOR LISTS of international producers, in accordance with Australian taxation legislation and international tax Producers will have access to sales reports and agreements. door lists from 1 August 2019 when ticketing goes live During the Registration process, you will be required to answer questions relating to your Country of Residence and whether you are carrying on a business in Australia – this will impact the manner in which The Sydney Fringe applies tax to your Settlement. We strongly advise that you seek advice on this as early as possible, so that there are no delays in Settlement.

23 Sydney Fringe will charge a fee of $30.00 per transaction to transfer/make payments into a foreign bank account.

SETTLEMENT PROCESS STEPS Once all sessions / performances are completed: 1. Producer to email the Artist Services Team ([email protected]) a written record if door sales for your performances. 2. Sydney Fringe prepare a detailed Settlement Statement showing the total ticket sales less customer booking fee and any other applicable charges. 3. Sydney Fringe emails the Settlement Statement to the Producer, which includes the total amount owing/payable. Note. If the Producer has an amount payable to the Sydney Fringe, an invoice will be issued to the Producer. 4. Producer to review the settelment statment and advise Sydney Fringe within the nominated timeframe if any changes are required. 5. Sydney Fringe will deposit the settelment funds into the bank account nominated during the registrtion process. NB: Payments are made by the Sydney Frunge periodically. Failure to produce any outstanding documentation by 30th November 2019 will result in the Producer forfeiting their ticket revenue.

24 BUDGETING

25 Successfully managing a budget is essential to producing an event. Your chances of breaking even or generating profit are significantly increased when you accurately estimate your expenses and potential revenues. You will need a carefully thought through budget to ensure (and to prove to potential backers and investors) that you can deliver on your vision. Under taxation law, if you are earning an income from your event at Sydney Fringe, you are required to have an ABN and quote this on Tax invoices issued to the Sydney Fringe and your venue. Visit www. ato.gov.au for more information and don’t hesitate to contact our Artist Services Team to guide you in the right direction with any enquiries. The main aim of budgeting is to avoid any hidden or unexpected costs so that you can estimate, as accurately as possible, your end position. There are many different costs and revenue avenues that you should consider and these will significantly vary depending on the type of event, length of run, venue and the level of your experience. Below is a basic budget template that provides a general outline of the categories you should consider. TIP: Baffled by budgeting? Attend our hands-on Fund It Masterclass, 15th April, held at The Old 505 Theatre.

BUDGET TEMPLATE

INCOME EXPENDITURE BOX OFFICE PRODUCTION COSTS

NO: PERFORMANCES DEVELOPMENT/REHEARSAL SPACE AVAILABLE TICKETS VENUE HIRE (PERFORMANCE) AVERAGE TICKET PRICE SET EXPECTED CAPACITY PROPS COSTUME TOTAL BOX OFFICE INCOME LIGHTING SOUND

OTHER INCOME AUDIO VISUAL TRANSPORT SPONSORSHIP RUNNING COSTS CROWDSOURCING BUMP IN/OUT CREW FUNDING GRANTS PRODUCTION SUBTOTAL PHILANTHROPY OTHER

TOTAL BOX OFFICE INCOME

26 MARKETING ADMINISTRATION

OPENING INVITES GROUP PERSONAL INJURY INSURANCE OPENING NIGHT CATERING PUBLIC LIABILITY INSURANCE PROMOTIONAL PHOTOGRAPHY ADMIN COSTS: ARCHIVAL PHONE, POSTAGE, ETC PHOTOGRAPHY APRA LICENSE ARCHIVAL VIDEO PERFORMANCE RIGHTS GRAPHIC DESIGN ADVERTISING : STREET PRESS ADMINISTRATION SUBTOTAL ADVERTISING : RADIO SALARIES & FEES POSTCARDS CREATIVES & CREW PROGRAMS: PERFORMERS DESIGN & PRINT OTHER LIGHT BOX POSTER DISTRIBUTION SALARIES & FEES SUBTOTAL PUBLICITY OTHER EXPENSES

MARKETING SUBTOTAL CONTIGENCY (10%) TICKETING & CREDIT CARD CHARGES BOX OFFICE SHARE (IF APPLICABLE)

TOTAL EXPENDITURE

RESULT

27 BREAKING DOWN SOME KEY EXPENSES • Performance Venue Hire: The Fringe team will play an active part in matching events to the right venue. It is essential to have a clearly defined contract with your venue and to understand all the terms of that contract so that no unexpected expenses surface later in the game. • Rehearsal Venue Hire: For many independent groups and producers, budgeting for a rehearsal venue significantly impacts the bottom line. With few rehearsal venues in Sydney and higher rates of hire, this cost could potentially take smaller companies into a financial loss. Think outside the box here. Many indie shows are rehearsed in living rooms or unused residential spaces. Is there a local business, say your local cafe, which you could ask to rehearse in at night? • Public Liability Insurance: It is a requirement of registration that all Fringe shows be covered for Public Liability Insurance. • Sydney Fringe Guide Advertising: This is an optional expense that allows companies/ groups to buy advertising space in the published Fringe Guide, 40,000 of which are printed and distributed to potential audiences. All details for advertising options can be found at sydneyfringe.com. This year we are offering artists affordable prices to advertise in our guide to make your show stand out during the Fringe. • Publicist: For larger or more established companies/artists, a Publicist is a very effective way of ‘outsourcing’ publicity and press to an expert. Many smaller arts organisations or those with short performance runs cannot afford these expenses. The Marketing section of this handbook should equip you with all the necessary skills and knowledge to tackle this task. • Contingency: It is important to budget for contingency as a buffer, should any unexpected expenses arise. Generally speaking, contingency is budgeted at 5 – 10% (10% is recommended) of total expenses excluding ‘Ticketing Expenses’

ESTIMATING TICKET REVENUE For many independent arts events, ticket revenue is the largest source of income. Accurately estimating ticketing revenue is important, to see if expenses will be covered or to see how much funding you will need to raise from other sources. As a general guide, here’s the basic maths on making sure your budget covers costs: Start by assuming your sales will be around 30%, that way if you sell out you’ll have some left over for ramen, and if you don’t you won’t take too much of a hit. If you’re going to spend $2400 on all elements of your show, and you have no other income stream your pricing matrix would look like this:

AVERAGE NUMBER OF VENUE EXPECTED TICKET PRICE ESTIMATED PERFORMANCES X CAPACITY X ATTENDANCE (%) X (IE YOUR TICKET = REVENUE PRICE)

5 (E.G,) X 80 X 30% X $20 (E.G.) = $2400

Remember to take account of Fees when making your budget. So having arrived at this number add those on. (see page 22) If you head up to the table in Ticketing & Fees section you’ll see that for this example you’d want to set your advertised ticket prices (including all fees) at around $30 Full Price and $23 Concession.

28 FUNDING AND RAISING MONEY

Government Grants Sponsorship and Partnerships Arts Grants are available on the national (Australia Finding corporate sponsorship can be time- Council), state (Arts NSW) and local (council) consuming and requires patience, but is well levels. The process of applying for a grant is worth it if you manage to secure some funds for detailed and extremely time-consuming. For your work. The key to successful sponsorship is independent artists who are working with tight be targeted with which potential sponsors you time frames, it is essential that you are completely approach. Successful sponsorship is not a matter eligible for a grant before dedicating time to of finding a company that you know generates writing the submission. For Fringe events, it may profit and asking them for a donation. Instead, it be worth considering development grants or is important to consider how your project relates cross-arts grants. Also, consider applying for local to an organization, what the organisation gains government funding if your projects meet the from supporting your project and what non- criteria - City of Sydney and Inner West Council financial benefits you could offer your sponsor for example both offer local council artist grants such as logo placement, a private screening, a at various times of the year. managing director introducing a show etc. It is also useful to consider what in-kind support Private Donations / Philanthropy a corporate sponsor could provide, that is non- financial support. Think about the content of your Asking for money from your existing network of work and what might be interest a sponsor. contacts is an excellent way to build a small bank of funding to get your project up and running. Sponsorship works best when it is targeted, Private philanthropists may be supporters of specific and personal - pick up the phone and try your past work and could include family and to meet face-to-face. friends who are keen to support your project. Philanthropy needn’t be a one-way street. Crowdfunding Consider the ‘benefits/rewards’ you could offer your patrons. These benefits could include Crowdfunding is a very effective way of raising acknowledgement in your print and online media, some up front funding. Crowdfunding offers a complimentary tickets to the event, a private great platform for friends, colleagues and family performance for your patrons and special access to contribute while also reaching out to other to an open rehearsal (to name a few). potential donors who might get excited by your project. Merchandise Popular Crowd-funding platforms include Pozible, Indigogo and Kick Starter. Merchandise could include the selling of your show programmes, clothing (T-Shirts etc.), TIP: Want specific strategies for raising funding? CDs, DVDs, high quality photographs or other Attend our ‘FUND IT’ Masterclass with expert novelty items. Make sure to budget for the cost industry guests of producing your merchandise when estimating your merchandise profit margin. Also, ensure that you meet all intellectual property requirements - you should own all the design elements and content of your merchandise.

29 MARKETING AND PUBLICITY

30 STARTING WITH STRATEGY PREPARATION 50% ART, 50% SELL It is crucial to create a marketing and publicity For many independent arts companies and plan in advance – this will help push your event groups, limited resources and limited people- forward and create exposure to your intended power means that most attention often goes audience. Think about the following: toward producing the art or event itself, at the •Target audience – Who are they and how can you expense of a marketing and publicity effort. For best reach them? Are there specific communities groups that don’t have the budget to employ that you need to tap into that you can access a Publicist, the push to get the work ready by direct contact or through less conventional sometimes comes at a cost. The most consistent channels? Make sure your audience isn’t too feedback we have had from Fringe artists over broad, as the more specific, the more targeted the past few years is that they felt that starting you can be. It is important to outline this from the marketing and publicity earlier would have start, as it will impact the look and feel of all your significantly increased their audiences, and marketing material, the type of venue, the time of therefore their income. We strongly recommend your show and the cost of tickets, that you start your marketing effort well in •Publicist – will you engage one or go it alone? advance of Fringe Month and that you dedicate equal time to marketing your work as you do to •What marketing material do you need? creating it. Promotional flyers and posters / digital or print advertising / social posts? MARKETING BASICS •What does your shows imagery look like? Define Marketing is, basically, everything that you do your identity, as consistency is key. as an artist or company to place and create an •Do you need to engage contractors to make interest with your potential audience, encouraging this imagery professional, attention grabbing and them to see your event over and above someone depict your shows narrative? Graphic designer / else’s. Photographer – do you need one? With 400+ shows Sydney Fringe, like any Fringe •Write your press release – see “Getting others festival world wide, does not have the ability to to talk about you” for all your publicity tips and a provide extensive marketing support for each press release template to get you started. and every show. It is important that you create a marketing plan for August and September •What media outlets, agency’s or distribution in order to gather the audiences you want. A businesses do you need to engage? What are marketing strategy is key. their lead times and how do these work into your timeline? Why do I need to market? •What is your budget? Split your budget between • To create knowledge, intrigue and your different marketing channels [posters / fliers excitement about your event / paid advertising / social] • To maximize the number of tickets sold • To raise the profile of your work, performance, artists, or company • To form connections with like-minded peers and potential networks • To place you as an artist in front of potential partners and sponsors • To prepare you for future projects that you may have in mind – documentation of your work or performance in the form of posters, flyers, photos, press clippings, reviews, etc.

31 YOUR VISUAL IDENTITY Moving image We cannot stress enough how important it is to To compliment your imagery, a show reel, teaser have great imagery and publicity photos. It will or behind the scenes footage is very useful for be the best investment of your time and money. social platforms, for us as the festival promoter This imagery can be used across your marketing to push, as well as press to pick up for digital material and for press enquiries. Previous artists articles. If you have the ability and the funds to have had their images used time and time again produce video it can be a worthwhile investment. throughout the Fringe period, due to their eye- catching and striking images that have appealed CREDITING THE FESTIVAL to press and media publications giving them that extra publicity for free. A clear, intriguing, You want people to know you’re an official professional image will sell your show better than participant of the Sydney Fringe Festival, and we anything. Make sure you have a strong image and want them to know it too. logo that work together in several different types All artwork must contain the Sydney Fringe of collateral. See below for standard collateral Festival logo, with certain venues requiring specifications. specific logos from partners. These logo strips can be downloaded from the Sydney Fringe website, artist info page, from May 31st. When creating marketing collateral, keep in mind what the purpose is. Different collateral has a The billing required by your contract applies to all different purpose, and will be seen in different press releases and publicity materials. environments. • For all festival productions, we require the • Poster: Make sure all the show information following format: is included, as well as the Sydney Fringe website [your producing entity], as part of Sydney Fringe for tickets. Make sure the poster is eye catching, 2019, presents [Your Show] even when sitting amongst a wall of other • Or, in cases where producer billing follows the posters. Keeping in mind that people may not title, use the following: have time to read lots of text, so keeping the poster punchy and to the point is key. [Your show], produced by [your producing entity] as part of Sydney Fringe 2019, • Flier: People will be picking it up and have more opportunity to read, adding awards and • You must use our FULL NAME in official billing accolades or a short blurb about the show works – Sydney Fringe 2019 – on postcards, posters, etc. well in this instance. Always include www.sydneyfringe.com as the site • An image that will sit with copy: Such for more information or for tickets. If you have a as a press image or an image for the Sydney separate web address for your show, please direct Fringe guide or website, keeping it clean of any people to it from the Sydney Fringe site rather words, and letting the image speak for you will be than including it as the destination on your press important. release. • Digital ad: Keeping the size of the ad in mind, and keeping copy to a minimum, with a strong image, will be key, as these tend to be small. Keep in mind that the purpose of this ad is to make people click, with the ad most likely clicking through to the ticketing page of your show with detailed information.

32 STANDARD COLLATERAL SPECS MARKETING COPY / BLURB Flyer So, what’s a blurb? It is a short piece of copy A5 / Postcard / DL that should encapsulate everything about your 300dpi event, and convince the reader to snap up those jpeg/PDF tickets. Creating a good blurb is one of the most important things in your advertising arsenal. Right Poster after your artwork, the perfect blurb can mean the difference between a sale and a pass. A4 / A3 / A2 300dpi 1. People love stories. jpeg/PDF Make sure your blurb contains details about your story, even if it’s a thin one. Don’t just fill your Image for the Sydney Fringe Festival guide blurb with accolades, awards, stars, etc. Those 490w x 360h pxl are great but ensure that there’s a story that the 300dpi reader finds compelling in your blurb. jpeg/pdf 2. Let the people pick your words for you. Hear how other people describe your work, and Digital graphics for social then look for commonly used words. Minimum width 1080pxl x height may vary 3. Look at what other people are writing 72 – 150 dpi Visit other festival sites or ticket sales websites jpeg/png and browse through the shows, reading each (note: This is the standard size for an instagram graphic, that will also be bigger enough for blurb. Notice what techniques are used. After facebook and other social platforms.) reading ten blurbs, decide which shows of the ten you would want to see? Which shows do you not Digital Graphics for Sydney Fringe Website paid want to see? Why? advertising 400w X 136h plx 72 dpi jpeg/png

Digital assets for other paid digital advertising These sizes may vary but the standard sizes are below: Half Page: 300w X 600h pxl Leaderboard: 728w X 90h pxl MREC: 300w X 250h pxl 72dpi : >100kb jpeg/png

Digital image for Sydney Fringe Website 300 x 300 pxl 72 dpi jpeg/png

33 PHOTOGRAPHY Come up with a creative, striking image that represents your show – think of something that will express your show’s identity and stand out. These shots will be used for marketing materials, on the Fringe website and in the Sydney Fringe Festival Guide Energetic, strong and original images are a powerful tool. Strong imagery is also what will give your event much higher chances of press coverage. >> We strongly recommend that any available marketing budget first be dedicated to capturing that strong image that will sell your show

34 PRINTING AND DISTRIBUTION ADVERTISING If you are thinking of distributing posters and If you have budget for extra activity, paid flyers on your own, do bear in mind there are advertising in the right places can greatly extend certain laws and regulations that you have to your shows reach. follow. It is ILLEGAL to put up street posters • There are paid advertising opportunities and distribute a large number of flyers without in the Sydney Fringe guide, as well as on our a license. Therefore, make sure that you respect website. These sit outside the standard listings other people’s property, receiving permission and will draw more attention to your show. before you hang up your posters or when you Contact our marketing manager at Jessica@ distribute your flyers on shop windows, cafes sydneyfringe.com for more information about and clubs. Otherwise the owner will remove your these opportunities. posters from the wall/window. Posters and flyers cost money, as you know already, so when they • Taking out ads in print publications such are taken down, that’s your money wasted. as newspapers, and magazines, can be expensive, but if you are targeting the right audience, it can be budget well spent. The Sydney Fringe Festival You can always hire a professional poster/flyer has, in the past, partnered with certain print and distributor. There are a number of distributors in digital publications, which has resulted in reduced Sydney who can do the job for a fee and often, advertising rates for artists. Keep an eye on artist they can distribute in areas where a regular communications for these opportunities. person can’t. Depending on the amount of flyers • Digital advertising is a very cost effective, and posters, as well as areas that need to be targeted and measurable way to advertise your covered, the fees will vary. So, make sure you do show. This can be done through paid search your research before proceeding. campaigns with google adwords, contacting key websites that draw your target market, or putting money behind ads and boosting posts in social channels.

CROSS PROMOTION Cross promotion is one avenue that you should consider if you are sharing a venue with another act/event, or if you know other Fringe artists.

35 GETTING IT RIGHT ONLINE The online realm is a big one, but when done Paid advertising on social right, can result in a significant increase of reach Facebook (and instagram) has made It harder for a lot less money. Making sure you chose and harder for events and businesses to reach your digital channels with your target audience their audiences without monetary investment in mind, and build a strategy that links all your in boosting posts or paid advertising. The key platforms together, with consistent, regular and is engagement, if you create engaging content engaging content. that people will like, comment on, share or SOCIAL MEDIA watch this will increase your organic reach to your community. Putting a bit of budget behind Social media has become a key player in the these posts can be a great investment, and online world, which is supported by a whole range allows you to target the right people. When of statistics from last year’s festival. In 2017 we creating facebook ads, make sure to follow all saw the number of people visit the Sydney Fringe the guidelines to get the best outcome for your website, clicking through from a social media investment. link, double on the previous year, it is the third most used route to our website behind direct and search engines, as well as people surveyed stating Facebook in the top three most important sources of information about the Fringe.

Make sure you choose the right platforms for the amount of time you can invest, as well as thinking of your target audience. Facebook, instagram, twitter, snapchat, just to name a few, all engage people differently. >> We ask artists to not name any Facebook pages with ‘Sydney Fringe’ in their page Make sure you like the Sydney Fringe Festival title. This will be an essential part of the page on Instagram, Facebook and Twitter [@ artist contract and failure to comply with sydneyfringe] and tag us as well as #sydneyfringe this could result in the Fringe withdrawing when posting on all channels. an event from the Festival program.

Facebook is one of the main platforms that sees results for shows across the board. Images and video rank the best of this platform, so keep them coming! Building a Facebook page and maintaining it is one of the best marketing strategies you can employ. It is something that empowers your artists and friends to help you promote your show. By creating a page instead of a group, your posts will be published in your fans’ mini-feeds, keeping you on their radar and hopefully attracting new fans.

Creating a Facebook event is also a great way to get information out to audiences, and providing reminders and updates of the shows details.

36 BLOGS EMAIL Starting your own blog is also another good You have an email list, and so does everyone that idea to promote your show, assuming you don’t is associated with your show or who wants it to have your own website already. Blogging is a succeed. Email them an e-flyer of your event, ask really easy way to get some current content up them to pass it on and spread the word. Send all to inform your audience. Having a connected your friends and families details of your show a dialogue with your audience is an essential way few weeks before it opens, and another during to get them feeling involved with your work. You the season. Ask them to forward it onto their want to be generating as much conversation networks and you’ll be increasing your reach about yourself and the Fringe as you can. Just enormously. be wary of too much shameless self-promotion, Start thinking about an email database that not make sure your content is relevant. only encompasses your friends but expands These posts can be shared through social media to include interested audience and industry platforms, as well as helping your searchability in members - ask people to sign up to your mailing search engines such as google, yahoo and bing. list when they arrive at your show.

FRINGE WEBSITE YOUTUBE AND VIMEO This is where it all starts. The Fringe website Moving image is a very effective way to receives hundreds of thousands of hits during the engage potential audience and to give them months of August and September. Everything an impression of what to expect in the live we do will be about driving people to www. experiencing of your work. You can shoot short sydneyfringe.com in order for them to find out videos on your mobile phones these days, easy about our shows and to buy tickets. unloadable to social media. Film behind the scenes or even short segments of rehearsal or performance. It is crucial that www.sydneyfringe.com be the central location for information about all shows so that we can most effectively cross-promote, helping all shows (and the event as a whole) to be OTHER PROMOTIONAL a success. ACTIVITIES When Sydney Fringe Festival launches in Clearly, if you have an individual site for your September, it shouldn’t mean your marketing show, you should be directing people to www. efforts have come to an end. The Festival will be sydneyfringe.com for tickets. YOU MAY NOT the most critical period for all your promotions. DIRECT THE PUBLIC TO CONTACT YOURSELF Make sure you are aware of what else is OR ANY THIRD-PARTY AGENT FOR ADVANCE happening during The Fringe. Have your posters TICKETS. and flyers handy with you at all times, since you’ll never know when you’re going to need them, and above all else just keep spreading the word. >> It is crucial that www.sydneyfringe.com be the central location for information about all shows so that we can most effectively cross- promote, helping all shows (and the event as a whole) to be a success. Clearly, if you have an individual site for your show, you should be directing people to www.sydneyfringe.com for tickets. YOU MAY NOT DIRECT THE PUBLIC TO CONTACT YOURSELF OR ANY THIRD-PARTY AGENT FOR ADVANCE TICKETS.

37 GETTING OTHERS TO TALK ABOUT YOU

PUBLICITY THE SYDNEY FRINGE PUBLICIST Good publicity is an essential element in Sydney Fringe Festival has a Publicist dedicated organizing your event. Publicity, in simple words, to promoting the Festival as a whole. Sometimes means media coverage for your show. It is a free there are opportunities to showcase some flowing medium and it is important to remember events through our Publicity channels. The more that this is not a form of free advertising, because proactive you are with providing us with a media it cannot be paid for and you cannot totally release and interesting stories/images, the more control what media writes about you. There we can do to try assist in the promotion of your are a few main reasons why publicity should be event. harnessed: one, to recruit your specific target audience; and two, to gain profile and recognition MEDIA CONTACTS for your artists as well as organizers, sponsors, company; to send your message out to a wider Assign someone in your team to collate press audience that you may not be able to reach contacts and to start to make approaches with personally. The media coverage that publicity your press release. Also have your team pool their brings is a greater cache than advertising since it collective resources and industry lists and create a carries third-party editorial endorsement. When mailing/email/phone list of people that you want done correctly and effectively, it will be able to to know about the show increase the promotional efforts and level of awareness of your event. The mediums of publicity include newspapers, radio (mainstream and community), TV >> (mainstream and community), and the web. Please note that the Sydney Fringe does not If you’re looking at print media, it could mean distribute a list of media contacts to artists. targeting daily newspapers (The SMH or the Daily Telegraph, Sunday papers), community newspapers, monthly magazines (Time Out Sydney), Gay Press (such as SX) or street press (such as The Music and Brag). Each publication has a different focus, so pick up a copy, get a sense of the house style and tailor your message to them. Remember, print needs strong images, so here is where your photos can help you. Offer them straight away – preview versions in low resolution first. Or they may want to send their own photographer, so have a photo idea or location prepared and ready to go.

38 WRITING A PRESS RELEASE You’ll need to generate Press Releases in order to create publicity. The purpose of these is to create an angle for media to generate a story. Include positive press quotes, details of cast, a synopsis of the show’s content, and any newsworthy details. Keep it simple, always be positive, play up any topicality and keep in mind the needs of the publication and your target audience. Remember to include: • Who is involved? • What the event is about? • Why should we be interested? • Where is it happening? • When is it on? • The Title of your Show • The Name of the Company creating it • Cast and Creatives • Dates, Times and Venue/s • Ticket prices and details for purchasing tickets • Your Contact name and phone number (for media) • The Sydney Fringe logo

Keep the press release to one page when possible, and no more than two. When you exceed the one page maximum, insert the word MORE at the bottom center of the first page. Subsequent pages should be numbered and alongside the page number, indicate the topic.

You want to balance it so that it’s both exciting enough to ignite a journalist’s interest, without sounding too much like a completely self-promotional attempt. Writing for the media is different from writing any other marketing pieces. Cut most hyped adjectives (awesome, fabulous), unless they’re positive statements you can attribute to someone in the form of a quote. Also, get colleagues to proofread the release, and check it again yourself. The last thing you want is date and spelling errors (especially of names), or any other factual inaccuracies. Again, really think about what makes your show unique, different and newsworthy, and make that the focus of your media release.

Be mindful when contacting journalists that some won’t have time to acknowledge your release but may still be annoyed to have it sent twice. Be polite. Be diplomatic. Keep in mind that journalists don’t know a thing about your show, and may just not be interested, without a strong angle. Remember this when contacting a journalist, and make sure they know what you feel is vvthe newsworthy angle of what you’re doing. Be prepared to accept a ‘no’ with good grace. Still want some more details about Marketing and Publicity? Attend our ‘SELL IT’ Masterclass, 3rd June, held at The Old 505 Theatre.

39 PRESS RELEASE TEMPLATE

For Immediate Release: [DATE RELEASE IS ISSUED]

[YOUR COMPANY NAME HERE] PRESENT “[YOUR SHOW TITLE HERE]” [MIGHT INCLUDE WRITTEN BY/DIRECTED BY, ETC.] PLAYS AS PART OF THE SYDNEY FRINGE 2016 DATES OF PERFORMANCES [THE RUN] OFFICIAL OPENING DATE: [IF APPLICABLE] THEATRE / VENUE NAME [STREET ADDRESS]

PARAGRAPH DESCRIBING SHOW: PLOT, THEMES, ANY SOURCE MATERIAL (“Based upon”), etc. Not too many adjectives. For example: a show can be called “a dark comedy” – but you should not say “a wildly funny romp” – that’s for the press to say. Adjectives should only be used in so far as they DESCRIBE the show (tone, style, etc.) ...not editorialize about as press quotes would.

A PARAGRAPH on CAST / DESIGN CREW. Who plays who and who designed what. Credits for actors / designers can be listed here as well.

BIO PARAGRAPH on WRITER AND / OR DIRECTOR (bios for any noteworthy creative team members can go in this next paragraph or two. Keep bios to a paragraph each – at most)

BIO on PRODUCTION COMPANY / THEATRE COMPANY if there is one. Mission statement can go here.

FINAL PARAGRAPH: RECAP OF THE SPECIFICS and TICKET INFO. SHOW TITLE plays at THEATRE as follows: LIST SCHEDULE. Tickets are $XX and can be purchased online at www.sydneyfringe.com. For more information, please visit www.sydneyfringe.com

Contact: [YOUR PRESS CONTACT NAME HERE] at [PHONE / EMAIL ADDRESS FOR PRESS CONTACTS]

40 FESTIVAL GUIDE

41 Sydey Fringe is the publisher of all event information in the Fringe Guide and online at sydneyfringe. com. All material must be suitable for a wide audience. The following tips and conditions apply to all material you submit as part of your registration.

EVENT COPY SOME TIPS: • Make your copy short and sharp • Quotes require “quotation marks” • One exclamation mark is enough! • Use Australian English

WE RESERVE THE RIGHT NOT TO PUBLISH: • Copy that can incite racial, ethnic or homophobic hatred • Copy that encourages or constitutes a criminal offense • Copy that is detrimental or could casue damage to the Sydney Fringe • Explicit language. What the f*ck? These can be included but please note that gven the Festival Guide is distributed to a broad audience, we will replace one character with a symbol.

FESTIVAL GUIDE SEPTEMBER 2016

42 EVENT IMAGE SOME TIPS: • Invest time in your image - images are the thing that will get you media attention • Less is more, don’t overcrowd the image • Make it bold and a standout • Don’t include too many people. Sometimes, images need to be printed smaller and can look crowded • Don’t include ANY text on your image. The event name will appear separately. • Ensure you imagas are High Resolution

WE RESERVE THE RIGHT NOT TO PUBLISH: • Images that have text on them • Images that could cause damage to the Sydney Fringe • Explicit or Pornographic images • Images designed to cause offense or that could incite racial, homophobic, ethnic or gender hatred.

43 THE BUSINESS SIDE

44 PUBLIC LIABILITY INSURANCE COPYRIGHT AND ROYALTIES Sydney Fringe Festival requires all events to The Sydney Fringe Festival subscribes to the take out Public Liability Insurance (PLI). This principles of copyright and intellectual property coverage protects you financially in the event as they are outlined under Australian law. that an audience member is injured or third Copyright ensures that the owner of the work party property is damaged as a result of your is acknowledged as such and that any relevant negligence. Producers in Fringe managed venues fees for using the work are paid. Fringe artists are are required to submit a Public Liability Certificate obligated to obtain the written permission from of Currency for $20 million to ensure that Public the copyright holders, owners or originators of Liability coverage is active. a work and pay any relevant fees for the use of that work. The Sydney Fringe can provide artists Public Liability does not cover injury to with assistance in checking whether a work is performers or to you and your property. These are protected under copyright. If a work does not at your discretion to address and could include have the rights to be performed, it will likely be additional insurance being taken for contents, withdrawn from the Festival program.For more injury or worker’s compensation depending on information on copyright, visit the Australian your circumstances. Copyright Council: As a general rule, the riskier the event is to the http://www.copyright.org.au public, the more expensive and difficult to secure public liability insurance. LETTER OF UNDERSTANDING / It is important to consider the structure of your AGREEMENT group/company when searching for affordable public liability insurance (PLI). For example, you A Letter of Understanding / Agreement, more may want to consider PLI for one project where formally called a Memorandum of Understanding, the insurance only covers the duration of your is a useful and effective document that sets event. For performers or companies who work out the agreement/terms of a relationship to across the year, consider taking out annual public avoid any misunderstanding and to ensure liability insurance either as a group or individually. that all parties agree on the terms. Letters of Understanding ensure that you have agreements Artist/producers in Fringe managed venues need in writing which are signed and dated for to email copies of their certificates of currency to accountability. Examples where Letters of [email protected] by the 1st July 2019. Understanding are useful include: between producer and performers; between producers and APRA / AMCOS designers; between members of groups creating a Fringe Event and those financing one. Music has become a vital part of the performance landscape. APRA administers the rights of A Letter of Understanding could cover issues such songwriters, publishers and composers in as: Australia and New Zealand. If you are planning on • The parties the agreement is between using copyrighted music (pre-recorded or live) in your Fringe event, you are required to obtain • Financial obligations the appropriate license and pay any relevant fees. • Reporting obligations For more information and resources on music • Time commitments expected copyright: www.apra-amcos.com.au • Confidentiality clause • Who owns the copyright to a newly created work • Dispute resolution processes

45 WORKING WITH CHILDREN PERSONAL INJURY Groups working with children are required to Public Liability does not cover you or members have each of their members pass a working of your group for injury while performing. You with children clearance. Also, groups working may like to explore Personal Accident and Injury with children are bound by industry legislation Insurance. Discuss these options with your regulating the pay, working conditions and insurance provider. maximum time commitments of a child in a production. For detailed advice on working with children, visit the Arts Law Centre of Australia at www.artslaw.com.au/ >>

ACCESSIBILITY DISCLAIMER: The Sydney Fringe is not a licensed insurance or financial advisor and The Sydney Fringe has committed to working therefore cannot give advice on specific closely with Accessible Arts NSW to find insurance matters, policies or products. You opportunities to improve accessibility over the need to speak to a licensed insurance provider coming years of Fringe festivals. and use the information on these pages as a Although you may have little power over guide only. Sydney Fringe will not be liable changing your venue’s accessibility, there are for any artists insurance issues directly or many things you could consider to make your indirectly. events/productions more accessible to a wider audience. The Fringe Guide to Accessibility will be available for download from the Fringe Website in SAFETY / WH+S late May 2016. For great genre-specific ideas and more information regarding issues of accessibility, Artists and venue managers have a responsibility ensure you visit the Accessible Arts website: to meet WHS and Building Code/Safety http://www.aarts.net.au standards. Artists in Fringe-managed venues will be required to submit a risk assessment as a condition of hire. These are due by the 15th July VOLUNTEER INSURANCE 2018 to [email protected] Volunteers are not covered under your Workers’ Compensation or your Public Liability Insurance. SMOKING REGULATIONS Ensure that you discuss this with your insurance In NSW it is not considered an offence to smoke provider and perhaps ask your volunteers to during a performance where smoking is deemed sign a release form to indicate that they are ‘necessary’. However, as with Victoria, WorkCover responsible for their own insurance. would prefer that real tobacco cigarettes were not used and encourage the use of an apparatus or prop to replicate smoking. No smoking will be permitted in any Fringe managed venue.

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