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22017017 Book.inddBook.indd 2 007/08/20177/08/2017 17:40:5217:40:52 WELCOME To the London Screenwriters’ Festival 2017 My name is Chris Jones, get the most from your LSF founder and creative director of experience. the festival. And, just like you, I love storytelling and writing My hope and belief is that the screenplays. festival will change the way you look at your writing, your career and The LSF has fast become the most hopefully your life too. exciting, prestigious and largest event of its kind. So - open your mind and heart and get ready for one hell of an Over the three days of the festival adventure. It’s going to be you can expect to gain a massive awesome! Promise. amount of screenwriting knowledge, make powerful new industry contacts and connect with a whole new group of like-minded creatives. Chris Jones This pack will help you get the most Creative Director from the festival. I urge you to read www.LondonSWF.com it as soon as you can if you want to Follow me on Twitter @LivingSpiritPix

We have an ofﬁ cial Twitter hashtag for the festival which is #LondonSWF. You can follow us on Twitter @londonswf Join us on Facebook 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

22017017 Book.inddBook.indd 3 007/08/20177/08/2017 17:40:5217:40:52 SHAPE OF THE FESTIVAL The festival runs for three days from late for our parties (on Thursday, September 2nd to 4th (Friday to Friday and Saturday nights). Sunday). We recommend planning for both.

The days start at 9.00am and end Plan to be present as much as around 7.30pm (with networking drinks possible as you won’t want to be running later). dragged away from the festival to other events over the three days. The venue is Regent’s University (which used to be called Regent’s College, but it’s the same building). On the ﬁ rst day of the festival there will be a bottleneck as 1,000 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

WiFi Access The good news is that we SHOULD have free WiFi. In past years this has been an issue but we have new contractors at the venue, so ﬁ ngers crossed! Your WiFi codes will be on the back of your pass when you collect it at registration.

22017017 Book.inddBook.indd 4 007/08/20177/08/2017 17:40:5217:40:52 GETTING THERE The London Screenwriters’ Festival Exit Baker Street tube station, take the is hosted by Regent’s University, in Marylebone Road exit and turn left. the heart of London and within the Walk past Madame Tussauds, before beautiful grounds of Regent’s Park. taking the next left onto York Gate, which continues onto York Bridge. Regent’s University, Inner Circle, Regent’s Park, London, NW1 4NS Follow the road into Regent’s Park and the main entrance to Regent’s Baker Street is the closest Tube stop, University will be on your left-hand around ten minutes’ walk to the side. Please note that Baker Street university. Underground Station is not wheelchair accessible.

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

Allow time to get lost on your way on the ﬁ rst day!

Do not lose your pass. Replacements will cost £20. Schedule updates and venue maps are available on-site and festival updates will be shown on info screens throughout the venue.

22017017 Book.inddBook.indd 5 007/08/20177/08/2017 17:40:5317:40:53 MAP OF THE VENUE

Don’t panic! The Venue is smaller than it looks and you will quickly get your bear- ings. 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.

22017017 Book.inddBook.indd 6 007/08/20177/08/2017 17:40:5417:40:54 SCHEDULE OF EVENTS During the festival there are four sions which can last between an hour separate strands of events – this and a half and two and a half hours, means that at any one time four depending on session and speaker(s). sessions are running concurrently. Friday will be our busiest day.

We fi lm many sessions to help you NO AUDIO OR VIDEO RECORD- choose. Some speakers decline to be ING IS ALLOWED – WE FILM fi lmed, however. Some sessions will be EVERYTHING PERMITTED BY much more popular than others. Where SPEAKERS. possible, we will fl ag 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 ses-

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.

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: 9:00pm 5 5 THE NETWORK LSFConnect.com is our private and for about a month after the festival. delegate network where you can It’s available year round and you can connect with other screenwriters, periodically log in for inspiration or producers and delegates attending instruction from one of the past session this year. videos.

It’s also where we share all the past As we edit session videos from this video sessions – there are around 250 year, they will be uploaded into the online now. network (it takes around three months to complete them all). There are forums, groups and a chat room where we congregate to discuss If you missed your invite, drop us an anything related to the festival and email and Lisa Shelley will sign you up screenwriting. – [email protected]

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,

Where to eat There is a refectory at the venue. We stagger events to try and avoid long queues at lunch. Remember – you are in for the long haul so bring supplies with you! There is also a terriﬁ c small café across the road from the Univer- sity, on the inner circle, called the Garden Café. Through- out the festival, there will also be a coffee shop in the Final Draft Marquee.

22017017 Book.inddBook.indd 1414 007/08/20177/08/2017 17:40:5617:40:56 SPEAKERS

LEGENDS CHRISTOPHER VOGLER JEB STUART Story Consultant Screenwriter Credits include: The Writer’s Credits include: Die Hard, The Journey: Mythic Structure for Fugitive Storytellers Jeb has been a motion picture Story consultant to the biggest and television screenwriter, names in Hollywood. director and producer for over 30 years and is considered one of the great action screenwriters in ﬁ lm history.

NICHOLAS MEYER TBC Screenwriter, Director Credits include: The Writer’s TBC Journey: Mythic Structure for Storytellers Story consultant to the biggest names in Hollywood.

22017017 Book.inddBook.indd 1515 007/08/20177/08/2017 17:40:5617:40:56 HEADLINERS ALISON OWEN PAUL ABBOTT producer screenwriter, producer Credits include: Suffragette, Saving Credits include: Shameless, State of Mr Banks, Elizabeth Play, Cracker Alison is one of the UK’s leading ﬁ lm A BAFTA award-winning TV writer, and television producers. series creator and producer, Paul is one of the most UK’s most revered writers working today.

PILAR ALESSANDRA SCOTT MYERS script consultant, educator screenwriter, producer, educator Credits include: The Coffee Break Screenwriter of ‘K-9’ with Jim Screenwriter Belushi and ‘Trojan War’ with Pilar’s students and clients have Jennifer Love Hewitt. written for Lost, Prison Break, Nip Screenwriter and producer, head Tuck, House of Lies, CSI and Family honcho at ‘Go Into The Story’ and Guy. Black List ofﬁ cal blog scribe.

SCREENWRITERS ASHLEY PHAROAH ANDY BRIGGS writer screenwriter Credits include: Life on Mars, Ashes He wrote on Judge Dredd, Freddy Vs to Ashes Jason and Aquaman and has worked Ashley is a veteran TV writer who has with Stan Lee, Robert Evans, Warner created and written several long- Bros. and Disney XD. running series for the BBC and ITV.

ROLAND MOORE ROB SPRACKLING screenwriter screenwriter, director Credits include: Land Girls, Credits include: Gnomeo & Juliet, Rastamouse, Smack the Pony Mike Bassett and Mariah Mundi And Roland created the award-winning The Midas Box returning drama series Land Girls for Rob has written for the biggest names BBC1 and has written for a range of in ﬁ lm including ‘Gnomeo and Juliet’ television series. which grossed $200m for Disney!

JED MERCURIO ALEX VON TUNZELMANN screenwriter screenwriter Credits include: Line Of Duty, Credits include: Churchill, Medici: Cardiac Arrest Masters of Florence Jed’s most recent credit, ‘Line of Duty’, After an outstanding start with her is the most watched BBC2 drama biopic feature debut ‘Churchill’, Alex is series in the multichannel era. deﬁ nitely one to watch this year.

22017017 Book.inddBook.indd 1616 007/08/20177/08/2017 17:40:5717:40:57 CHARLOTTE JOSEPHINE COLETTE KANE writer, actress playwright, screenwriter Credits include: Blush, Bitch Boxer, Credits include: Moving On, Broken Blue Seasoned playwright Colette broke Bitch Boxer writer Charlotte recently into screenwriting in 2012 when she won the inaugural BBC Screenplay was commissioned to write an Episode First Award and is currently developing of Jimmy McGovern’s Moving On for a script with BBC Films. BBC ONE

DANNY BROCKLEHURST EMMA REEVES screenwriter screenwriter Credits include: The Five, Ordinary Credits include: The Worst Witch, Lies, Shameless, Clocking Off The Dumping Ground Danny is a BAFTA and International Emma is a versatile and experienced Emmy winning screenwriter who has writer working across adult and written on some of the biggest UK children’s TV drama and the stage. dramas of recent years.

GREGORY BURKE JONATHAN RUFFLE screenwriter, playwright writer, producer Credits include: ‘71, One Night In Credits include: Tommies, Never Emergency Mind The Buzzcocks An award winning and prominent Jonathan created, writes and produces Playwright and Screenwriter, Gregory’s the a four-and-a-half year real-time most recent work is the hard hitting ‘71 drama - Tommies which airs on BBC starring Jack O’Connell. Radio this autumn.

MICHAEL HIRST NEIL MCKAY screenwriter screenwriter Credits include: The Tudors, Credits include: The Moorside, See No Vikings, Elizabeth Evil, Mo A master of Period Drama, Michael has Neil’s most recent drama ‘The Moorside’, been a screenwriter for both ﬁ lm and about the abduction of Shannon television drama for over thirty years. Matthews in Dewsbury in 2008 was broadcast on BBC to widespread critical acclaim earlier this year.

PAUL MAYHEW ARCHER PAUL MENDELSON screenwriter, producer screenwriter Credits include: The Vicar of Dibley, Credits include: My Hero, Losing It Miranda Paul is best known for his work on Paul has worked for 35 years in Radio ‘My Hero’, ‘May to December’ and and TV as a comedy writer, producer, ‘Neighbours from Hell’. script editor and commissioning editor.

RICHARD WARLOW ROB MORGAN screenwriter, showrunner game writer Credits include: Ripper Street, Credits include: Fallen London, Mistresses Imago Richard is the Lead Writer, Creator and Rob is a game writer, narrative Executive Producer on all ﬁ ve series of designer and voice director. ‘Ripper Street’.

22017017 Book.inddBook.indd 1717 007/08/20177/08/2017 17:40:5717:40:57 ROBERT FESTINGER TOM KEREVAN screenwriter screenwriter, producer Credits include: Hampstead, In the Credits include: Tear Me Apart Bedroom Tom’s feature debut ‘Tear Me Apart’ Rob is an American writer living premiered at the Austin Film Festival in London. His work on In The and he is currently working on his Bedroom won him an Academy second feature ‘Gun’. Award nomination for best adapted screenplay.

VINAY PATEL TBC screenwriter, playwright tbc Credits include: Murdered By My Father BAFTA Breakthrough Brit, Screenwriter and Playwright Vinay is currently under commission to the Bush Theatre, as well as developing projects for the BBC and the BFI.

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22017017 Book.inddBook.indd 1818 007/08/20177/08/2017 17:40:5717:40:57 PEOPLE WHO GET STUFF MADE

YVONNE GRACE TONY GARNETT tv producer, script editor, writer producer Credits include: Eastenders, Holby Credits include: Kes, Beautiful City Thing, This Life Yvonne has worked in script editing, Tony has had a prestigious and varied story development and production for career as an actor, script editor, the BBC, Granada, Channel 4 and ITV. screenwriter, director and producer.

JULIAN FRIEDMANN GUB NEAL ﬁ lm, tv and literary agent producer Agent and great supporter of Credits include: Prime Suspect, emerging talent. Cracker, Queer As Folk Julian has years of experience as a Gub is an award-winning producer who literary agent and was the founder of has headed up the Drama departments ScriptWriter magazine. at both Channel 4 and Granada.

DAVID NICHOLAS WILKINSON ANDEE RYDER producer producer Credits Include: The First Film, How Credits include: Alleycats, McQueen To Change The World Producer Andee’s debut feature David has been involved in the Alleycats is distributed internationally production/ distribution of over 100 by a Major International Studio in over British feature ﬁ lms with budgets from 20 countries. £20,000 to $16 million.

ANGUS LAMONT JEFF NORTON producer writer, producer, author Credits include: ‘71, The Girl With Credits include: MetaWars, All the Gifts Trucktown, Princess Ponies ‘71 Producer Angus has been an active Jeff is a writer-producer, and author participant in the Scottish and UK of the award-winning thriller series independent ﬁ lm production community MetaWars. for more than 25 years.

JOHN YORKE JULIA MCKENZIE md angel station head of bbc radio comedy Credits include: Wolf Hall, Credits include: The Jason Byrne Shameless, Life On Mars Show, French & Saunders John Yorke is Managing Director of Julia produces comedies for Radio 2. Angel Station where he works as a drama producer, consultant and lecturer on all forms of storytelling.

22017017 Book.inddBook.indd 1919 007/08/20177/08/2017 17:40:5817:40:58 MARTIN ALLTIMES NIK POWELL ceo/founder | the imaginati studio producer, director of nfts Martin and Imaginati Studios are Credits include: The Crying Game, currently focused on creating games Mona Lisa based on ‘The Planet of Apes’ Virgin co-founder turned Producer, Nik franchise on console and PC. is the man behind some of the most successful and acclaimed British ﬁ lms of all time.

ROBYN SLOVO RUTH CALEB producer producer Credits include: Tinker, Tailor, Credits include: Last Resort, Soldier, Spy Tomorrow La Scala, A Poet in New Former exec at BBC Films and head York of fi lm at Company Pictures, Robyn is Ruth is a multi-award winning now an independent producer. producer. She was awarded the O.B.E. in the 2004 Queen’s Birthday Honours List for her services to Drama. RUTH KENLEY LETTS SAMANTHA HORLEY producer producer Credits include: It’s a Wonderful Life Credits include: Grabbers, Miss You Ruth runs JK Rowling’s Bronte Film Already and TV and won both an Oscar and Samantha is a prolifi c Producer, BAFTA for ‘It’s a Wonderful Life’ freelance script and development directed by Peter Capaldi consultant and a lecturer who creates and runs training courses for emerging fi lmmakers.

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22017017 Book.inddBook.indd 2020 007/08/20177/08/2017 17:40:5817:40:58 DIRECTORS

JONATHAN NEWMAN IAN BANHOTE writer & director director & producer Credits include: Swinging With The Credits include: Alleycats, McQueen Finkels, Foster, Maria Mundi and the Ian Bonhôte is an award-winning Midas Box ﬁ lm Director and Producer. His ﬁ rst Jonathan most recently directed the feature Alleycats was distributed in 20 $25m movie Mariah Mundi and the countries. Midas Box.

MARTHA FIENNES TBC director & screenwriter tbc Credits include: Onegin, Chromophobia Award winning, visionary director of sumptuous Russian period piece ‘Onegin’ and the powerful and contemporary ‘Chromophobia’.

ACTORS

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22017017 Book.inddBook.indd 2121 007/08/20177/08/2017 17:40:5817:40:58 PEOPLE WHO KNOW STUFF

LUCY V HAY LINDA ARONSON script editor practiotioner & screenwriter Bionic blogger, script editor and the Author of: The 21st-Century voice of new writers! Screenplay Legendary for her enthusiasm and Linda Aronson returns to dazzle LSF knowledge which she shares with her delegates with her game changing community at Bang2Write. Core member explanations of how to construct non- of the LSF team. linear and multiple storyline fi lms. HAYLEY MCHENZIE CHRIS JONES script editor fi lmmaker & author Credits include: Hollyoaks, Casualty, Credits include: Oscars shortlisted Blue Murder Gone Fishing, the Guerilla Handbooks Hayley McKenzie is an experienced and a bunch of feature fi lms Script Editor in UK television and feature Chris has spent his life making movies, fi lms and the founder of Script Angel. writing books and helping others make their movies. STEPHEN FOLLOWS JEAN KITSON writer & producer agent | kitson press associates Credits include: Baseline, Sign Founder: Kitson Press Associates Language Jean Kitson is an agent representing Stephen Follows is an award-winning fi lm, TV, theatre and radio writers and writer and producer. directors.

CHARLOTTE ESSEX CHRIS HEWITT script editor news editor | empire magazine Writer: Doctors, Script Editor: Chris Hewitt is the News Editor at EastEnders, The Runaway the always OUTSTANDING Empire Charlotte has extensive script editing Magazine. experience in development and production.

FARAH ABUSHWESHA KAROL GRIFFITHS producer & founder of rocliffe script editor & supervisor Credits include: Irreplaceable You, Credits include: How I Met Your The Last Photograph Mother, Friends Farah is a BAFTA nominated producer, Karol Grifﬁ ths is a successful script editor best selling author and founder of the and development consultant with over BAFTA Rocliffe New twenty years of experience.

KIRA ANNE PELICAN LORETTA PREECE script cosultant & researcher producer, story producer, script editor Kira-Anne is an independent script Loretta has been personally responsible consultant, a PhD researcher in for storylining over 2000 episodes of Screenwriting, and visiting tutor at the mainstream British television. Met Film School, London.

22017017 Book.inddBook.indd 2222 007/08/20177/08/2017 17:40:5817:40:58 LUCY RAFFETY MANUEL PURO producer & script editor casting director Credits include: Casualty, Eastenders Credits include: Moon, The Machine, Lucy instigated a Writers’ Room system Scar Tissue at Casualty which now commissions the Manuel has worked with industry heavy majority of its writers in that way. hitters including Guillermo del Toro, Richard Attenborough and Nic Roeg, Guy Ritchie and Matthew Vaughn. ZINA WEGRZYNSKI PAUL TESTAR script & development editor script editor Zina started off working in production Credits include: Tripped, Endeavour working on shows such as Critical (Sky) Paul is a script editor for leading drama before moving into the creative side of company Mammoth Screen. TV.

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22017017 Book.inddBook.indd 2323 007/08/20177/08/2017 17:40:5917:40:59 MODERATORS MARK PALLIS BOB SCHULTZ broadcaster writer & producer Credits include: Garrow’s Law, Iron Credits include: Great American Monk, Tales of Peter Rabbit Pitchfest Barrister turned writer Mark served as Bob has been the Executive Director story editor on Garrow’s Law and has of the Great American Pitchfest & several TV and feature projects ready Screenwriting Conference (GAPF) for to go. 13 years.

KAREN KRIZANOVICH GAIL HACKSTON writer, broadcaster, presenter, producer screenwriter & director Credits include: The Film Programme Credits include: 50 Kisses, Cancer Veteran LSF Karen brings her years in Hair the media business to ensure insightful Gail’s short Cancer Hair won ‘Best and entertaining sessions. Fiction’ and ‘Best of Fest’ at the Isle of Man Film Festival and won IMDb New Filmmaker of the Year at Bath Film Festival. GUY COCKER LISA NEELEY broadcaster met ﬁ lm school dean Broadcasting credits: BBC 5 Live, Sky Lisa worked in development and News, CNN production at Warner Bros and HBO Writes regularly for Wired, T3 and Films before relocating to the UK to Stuff, and is the resident video game teach screenwriting. expert on BBC 5 live, Sky News and CNN.

MAUREEN HASCOET SARAH WILLIAMS agent & director screenwriter Credits include: 50 Kisses (‘Enough’ Professional singer and drummer, segment) Sarah also writes for the screen and Maureen is a veteran of the LSF brings her impeccable moderating production team, now working for skills back to the LSF this year. Blueberry Creative Consultants. She is also a talented director in her own right. 24

22017017 Book.inddBook.indd 2424 007/08/20177/08/2017 17:40:5917:40:59 advertisment tbc

Download the App We have an App for the festival. You can download it at http://my.yapp.us/LONDONSWF. With the app you can browse delegates, speakers, pitch execs, build your own schedule and more. Perhaps most importantly though, you can get Push Notiﬁ cations from us throughout the festivals with important updates. You may need to enable notiﬁ cations for the App in your smartphone settings.

22017017 Book.inddBook.indd 2525 007/08/20177/08/2017 17:41:0017:41:00 MAIN SESSIONS Over the three days of the London Screenwriters’ Festival we will run over one hundred seminars, workshops and networking events for professional screenwriters. We ﬁ lm most sessions, so if you miss one, or two clash, you’ll be able to catch up later online.

Main sessions take place in the four main rooms, Tuke Hall, Herringham Hall, Tuke Cinema and the Final Draft Marquee. At any one moment there will be four sessions to choose from.

22017017 Book.inddBook.indd 2626 007/08/20177/08/2017 17:41:0017:41:00 ADDITIONAL SESSIONS

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.

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 set up ‘Script Chats’ – special, intimate and informal chats with speak- Final Draft Genius Table ers that take place directly after their Got a Final Draft question you need sessions. answering? Need a bit of help getting to grips with the features? The lovely After each session, many of our speak- people from Final Draft will be at the ers participate in our informal “Script festival and you can drop in at any Chats.” Ranging in length from 30-90 time to get some world class expert minutes, this is a great opportunity to help from them. Located in the main get to know our speakers in depth. Marquee. 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).

22017017 Book.inddBook.indd 2727 007/08/20177/08/2017 17:41:0117:41:01 Script to screen LIVE! Legal Clinic Our Script To Screen LIVE events are Do you have legal issues you need a where we play the ﬁ lm and discuss it lawyer to help you with? All delegates with the writers on stage, in real time. have the option to apply for legal advice We suggest you print the script and bring at our legal clinic, run by Hogan Lovells. it with you for these AMAZING sessions. You can ask any question you like and All scripts can be downloaded via the their legal team will do their best to Submissions, Booking and Info Page. answer your concerns.

The Elevator Pitch The idea is simple - the elevator doors The Pitch Factor open, you step inside only to fi nd Feel the fear and do it anyway! Pitch in yourself alone with a top executive… front of a live audience and win CASH! You have 90 seconds to get them to accept your business card! This micro Put £5 in a hat and pitch your script in workshop, based on the popular myth of front of a panel of industry professionals writers meeting execs in elevators, is a at our annual Pitch Factor, a relaxed and great opportunity to try out your fabulous friendly environment where delegates 90-second pitch. You might get an invite pitch their project in two minutes or less. to submit your work, you might not… but You do not need to book for the Pitch you will certainly get an experience you Factor, just turn up. won’t forget! The session runs on a fi rst come, fi rst served basis and you will only fi nd out who is in the elevator when you step inside. Feel the fear…. And do it anyway!

22017017 Book.inddBook.indd 2828 007/08/20177/08/2017 17:41:0217:41:02 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 ﬁ ve pages) of Speed Networking your script. These are closed sessions Make new relationships FAST in our and they run throughout all three days of structured Speed Networking event. the festival. 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 ﬁ nd the people you will. The answer for us is our organised Speed Networking.

Advanced Mentoring and Script Labs At the festival we run a number of intensive ‘closed door’ labs with experts and writers in hyper focussed ﬁ elds. This year the Jim Uhls ‘Safe House’ lab on Saturday will be performed for delegates, so you are invited to come and participate. The Actors’ Table Read The actors’ table read is an opportunity for you to get your screenplay worked Script Doctor drop in desk Get one-to-one script feedback on your screenplay from an experienced Script Doctor. Slots are now all taken but there is a drop-in desk during the festival next to registration. So if you want to just rock up with your script, get some feedback or ask for career advice, head over there and see one of the lovely Euroscript Doctors.

22017017 Book.inddBook.indd 2929 007/08/20177/08/2017 17:41:0217:41:02 SCREENWRITERS’ AWARDS The 2017 British The Nominations... Screenwriters’ Awards This year at the London Screenwriters’ Outstanding Newcomer for British Festival we will run the fourth British Feature Film Writing Screenwriters Awards, honouring • 100 Streets by Leon Butler outstanding writing from newcomers and • Eddie The Eagle by Sean Macaulay established screenwriters in both ﬁ lm and • The Girl with all the Gifts by Mike television. Carey • The Pass by John Donnelly And we will be expanding categories this • Prevenge by Alice Lowe year too, championing even more great • Under The Shadow by Babak Anvari British screenwriting. Best British Children’s Television Hosted by screenwriter, writer and • The Amazing World of Gumball by comedian Deborah Frances-White and The Writing Team Emmy Winning producer John Yorke, • Class Dismissed by The Writing who is also the former boss of Ch4 and Team BBC drama departments. • Counterfeit Cat by The Writing Team • Eve by the The Writing Team You can be sure it will be a star studded • The Worst Witch by The Writing night to remember. Team

Don’t dehydrate! Bottled water can become expensive over the three days, so plan to bring a bottle and reﬁ ll at one of the three ﬁ ltered and chilled water fountains onsite. You can see their locations on the venue plan.

22017017 Book.inddBook.indd 3030 007/08/20177/08/2017 17:41:0317:41:03 Outstanding Newcomer for British Best Comedy Writing on Television Writing Television • Apple Tree Yard by Amanda Coe • Camping by Julia Davis and Louise Doughty • This Country by Charlie Cooper • Damilola, Our Beloved Boy by Levi and Daisy May Cooper David Addai • The Durrells by Simon Nye and • Fleabag by Phoebe Waller-Bridge Gerald Durrell • The Hollow Crown by Ben Power • Flowers by Will Sharpe • NW by Rachel Bennette (Based on • People Just Do Nothing by Asim novel by Zadie Smith) Chaudhry, Steve Stamp and Allan Mustafa Best British TV Drama Writing • Upstart Crow by Ben Elton • 3 Girls by Nicole Taylor • The Crown by Peter Morgan Best British Feature Film Writing • Little Boy Blue by Jeff Pope • Absolutely Fabulous: The Movie • The Moorside by Neil McKay by Jennifer Saunders • National Treasure by Jack Thorne • American Honey by Andrea Arnold • Free Fire by Amy Jump and Ben Best Crime Writing on Television Wheatley (Series/Single Drama) • T2 by John Hodge (Based on the • Broadchurch by Chris Chibnall novel by Irvine Welsh) • Born to Kill by Kate Ashﬁ eld, • A United Kingdom by Guy Hibbert Tracey Malone and Kate Gartside (Based on the novel by Susan • Broken by Jimmy McGovern, Williams) Shaun Duggan, Colette Kane and Nick Leather Lifetime Achievement Award To • Line of Duty by Jed Mercurio Be Announced On The Evening • The Missing by Harry Williams and Jack Williams • Unforgotten by Chris Lang 31

22017017 Book.inddBook.indd 3131 007/08/20177/08/2017 17:41:0417:41:04 BOOK SIGNINGS Many of our speakers have a book that they have written, and will be available for signings in the bookstore in the Final Draft Marquee. These signings will be indicated in the schedule. Turn up early as often a lone queue forms.

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22017017 Book.inddBook.indd 3232 007/08/20177/08/2017 17:41:0517:41:05 SCRIPT TO SCREEN Die Hard

Watch the movie while reading the screenplay… DIE HARD!

For a decade, every successful action movie was pitched as “DIE HARD in a ______”

the greatest villains of all time? What And now you can appreciate and is it that makes John McLane the analyse the one that started it all ultimate reluctant hero? Are those when LSF’s Script To Screen series the actual ingredients in a Twinkie? brings you DIE HARD. Screenwriter And of course, the question that the Jeb Stuart – the man who launched whole world is asking… Is “Die Hard” an entire genre – will be on hand to a Christmas movie? discuss the creation of his classic. Have you ever wondered about seeing your script turned into a world- This will be LSF’s most explosive changing movie? Writers, bubbies, Script To Screen yet. You may enter we are your white knights. with questions, but you will leave yelling, “Yippee-Ka-Yay, Em-Effer!” Come to the session having read the script, then enjoy Jeb’s commentary PS – If you want to go deeper, why as the ﬁ lm unfolds. He will address not read ‘Nothing Lasts Forever’ by the most incisive “Die Hard” Roderick Thorpe, the book Die Hard questions: How did he create one of was based on.

22017017 Book.inddBook.indd 3333 007/08/20177/08/2017 17:41:0517:41:05 PITCHFEST 2017 What is it? On the day of your pitch... An opportunity to meet and chat with • Turn up ON TIME to your pitching infl uential agents and active produc- session. ers. The people who have the power • There will be around 10-14 execs, to make your projects happen. producers or agents present for you to pitch to. If you are successful in booking, you • There will be around 30 delegates have the opportunity to pitch your project pitching. to agents, producers or commissioners • The session lasts 90 minutes. in ONE of our 90 minute, limited pitching • Pitches rotate every fi ve minutes, so sessions. This means face-to-face time make those minutes matter. with the very people who could launch • There will be a queue for each pitchee, your career, option your script or offer so choose who you want to pitch to insight into how to improve your pitching and get in line. techniques. • Once you have pitched, choose who you want to pitch next and get in line. Who can you expect to be • Do the maths, you will get between 3 and 8 pitches depending on which present? queues you join. Be tactical. The Great British PitchFest features the • Get there early to be fi rst in line! cream of the British fi lm industry, as well • After each session, if a pitchee wants as hungry and emerging producers look- to discuss your project further, it’s up to ing for new relationships. You can fi nd a you to get contact details and follow full list of execs, producers and agents up. We will not supply their contact on the website. details later – so please don’t ask!

22017017 Book.inddBook.indd 3434 007/08/20177/08/2017 17:41:0517:41:05 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. • 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 • If this is your ﬁ rst pitching experience, even but it is not always possible. consider Saturday or Sunday as they • Thursday and Friday will be intense will be less intense and you can get and busy, Saturday less so, Sunday tips from other delegates. even less so.

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.

22017017 Book.inddBook.indd 3535 007/08/20177/08/2017 17:41:0617:41:06 The Pitchfest will take place on the top ﬂ oor 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.

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.

22017017 Book.inddBook.indd 3636 007/08/20177/08/2017 17:41:0717:41:07 A FINAL WORD... Holy cow! You can see there is a Above all, remember to relax TON of stuff to do to get the most and have fun. Talent is great, but from the festival. It’s going to be relationships get you hired. Making an intense three days, so plan for friends is often more valuable than the marathon. delivering killer pitches or getting business cards from heavy hitters. Being prepared is the best way to Screenwriting is a lifelong pursuit get the most from the festival, so and a creative marathon, not a 100 get working on your pitches now. yard dash. At any given time there are ﬁ ve sessions running along with other Good luck and I look forward to events like the PitchFest, Labs, seeing you there! Actor’s Table read etc., so there is a LOT happening. We do ﬁ lm many Chris Jones & on behalf of the sessions and those will be marked whole team in the schedule. www.LondonSWF.com Follow me on Twitter @LivingSpiritPix

So what next? You will see at the end of this book we have more amazing seminars coming up. But in the meantime, jump into LSFConnect and look out for the sessions we ﬁ lmed coming online in the coming weeks and months.

22017017 Book.inddBook.indd 3737 007/08/20177/08/2017 17:41:0717:41:07 MAXIMISE YOUR FESTIVAL By Lucy V Hay individual attention from the speaker/s, especially via Q&As. So, you’re coming to LSF! Congrats. This event is put on by writers FOR writ- In addition, consider the value of ers. We want you to be able to harness networking within small groups when the expertise and resources available others are in sessions. I’ve lost count of and propel your writing career forward. the number of people who’ve told me, Every year, delegates ask how to get the “If I’d gone to see X, I’d never have met most out of LondonSWF, so we asked Y and now we’re working together on a blogger, script editor and networker project!” More on networking, next. extraordinaire Lucy V to give us her top 7 tips for grabbing LSF by the horns.… Networking strap yourself in! Lots of writers worry about approaching people at events, or believe erroneously Plan ahead that their fellow writers are not useful to Make sure you study the schedule. them. When deciding which sessions to watch “live”, consider what’s going on at the Remember, everyone is in the same same time – remember, most sessions boat. Do not huddle together with the are ﬁ lmed, so it’s not “either/or” and you people you know, or sit on your own. Try needn’t miss out altogether. and mingle wherever possible. If you’re not sure how to start conversations, here What’s more, some of the VERY popular are 10 easy questions to break the ice: sessions (especially those with headliners) will be packed out. In contrast, some 1. What are you working on at the mo- smaller sessions may bring more value ment? to you “in the ﬂ esh” because less people 2. Have you travelled far / what’s your will be there, meaning you may get some hotel like?

22017017 Book.inddBook.indd 3838 007/08/20177/08/2017 17:41:0817:41:08 3. Who are you hoping to meet during That horror feature led to one of my ﬁ rst the festival? paid writing assignments. Now, let’s 4. Which sessions did you see today / rewind and imagine I’d said to other writ- which did you get the most out of? ers, “Oh this and that” when they’d asked 5. What do you want to get out of the what I was working on. That’s right: that festival? producer, who’d been going round ask- 6. Do you have any pitching tips? ing who had horror scripts, would never 7. What genres are your favourites? have been told by those writers that I 8. Do you prefer movies, or television? had one. Talk about a no-brainer. 9. Who’s your favourite actor? 10. What do you think of transmedia/ Business cards multiple platform writing? Have some. Do not even THINK of attending LondonSWF without any. Your writer colleagues are your greatest Lots of people ask what should go on allies – never forget this. Don’t ignore ev- their business cards. I recommend a eryone in the hope of catching Jim Uhls minimal approach: Name, Job Title, mo- at the bar, or harangue your colleagues bile number, website, email address. into hearing your practice pitch either. Social media handles/links to CVs, showreels etc are optional. I always The more conversations you have, the include my Twitter. more likely you will be remembered for the RIGHT reasons… For example: I Avoid funky fonts, overly ﬂ ashy or shiny went to a party, years and years ago. cards – remember people will have I was writing a horror screenplay and trouble remembering who is who, so will whilst networking, told my logline to probably want to write reminders on the about 5 people. By the end of the night, back of cards, so make sure there is a a young producer (whose path I had blank bit where they can do this. NOT crossed that night), came over to me and said:

“I hear you have a horror screenplay?” 39

22017017 Book.inddBook.indd 3939 007/08/20177/08/2017 17:41:0817:41:08 DO NOT have those itty bitty cards, the audience is 4) the logline [NOTE: If oversized ones or round ones or whatev- you trip over your words, take a deep er. These get lost far too easily. breath. Start again.] IN AN EMERGENCY: if you have no business cards or run out during the Don’t babble. If the pitchee does not festival, whip out your phone and ask the seem interested, don’t try and force it. person in front of you who they are on Ask them if they’d like to hear another Twitter. Follow them immediately. Create logline. If they say yes, rinse and repeat a list of people you meet at LondonSWF the steps above. this way. Not on Twitter? SIGN UP NOW. If you don’t have another logline, don’t Pitching sit there like a lemon. Ask your pitchee something. Have a conversation. I ﬁ nd a Let’s face it: for a lot of LSF delegates, great icebreaker is, “What would you like it’s all about the pitching. And why not: to see more of in the slush pile?” Make LSF opens up a plethora of potential a mental note of any recurring themes, opportunities for writers, all in one place. genres, or characters etc that crop up if What’s not to like about that! you ask more than one industry pro this So, a few things to remember when question. pitching, especially in the Pitchfest: Make sure you’ve got your thoughts And another thing, lieutenant: Give one together. pagers to your pitchees only if they ASK for them and never, ever foist an entire Sit down. Smile. Shake your pitchee’s script on them – or anything else like hand if it’s offered. USB sticks, CDs or photos/props and especially gifts, even if you mean well: it DON’T PANIC. No one expects you to can get really weird. If you have some- be perfect. thing you want to give someone – my Bang2writers have brought me choco- Introduce yourself. Tell them: 1) what late in previous festivals, for example – you’re pitching 2) what genre it is 3) what

22017017 Book.inddBook.indd 4040 007/08/20177/08/2017 17:41:0817:41:08 give it to them in the refectory or similar, “Let’s have coffee at LSF!” and I’ve said not a pitching situation! yes, only to not see them ONCE, despite sitting in communal areas for ages (as I Also, make sure you know your logline always do). FYI - If you don’t make an INSIDE OUT and can deliver it CON- appointment with me, that’s fi ne – tweet VERSATIONALLY and deliver it to all me at @Bang2write, and I’ll try and who ask, whether you’re pitching it make it to see you. DON’T email, DM or formally or not. Remember, a logline PM me please, these don’t always come is a short description of the plot of your through in time. story. Whatever you do, do NOT confuse a logline with a tagline, which is the If you’re not on Twitter, check out the strapline on the front of a poster or DVD tweet board. I and other speakers will box, ie. “In Space No One Can Hear You be using the #LondonSWF hashtag too Scream.” and mentioning where we are at various intervals, which will fl ash up on screen. Taking meetings Want to meet someone specifi c at Lon- Getting there and back donSWF? The advice is simple: Leave your home or hotel in plenty of Email him/her before the festival and time. Each day of the festival starts arrange IN ADVANCE. around 9am, so be sure to arrive before this; lots of LSF delegates like to have This advice applies whether it’s a fellow breakfast or coffee together in the tweeter or an industry pro, btw. What’s refectory around 8am. Each day fi nishes the worst that can happen? S/he says around 7.30pm offi cially, though there’s no, too busy. You’ve lost nothing. opportunity to network in the bar ‘til late into the night. If that person emails back and says yes, Some delegates have to leave earlier they’d be delighted to accept your invita- than others on the Sunday (especially tion for coffee, be sure to pick a SPE- those with childcare duties, like me), but CIFIC TIME AND DATE. I’ve lost count of the number of times writers have said, 41

22017017 Book.inddBook.indd 4141 007/08/20177/08/2017 17:41:0917:41:09 if you can, try and stay for Chris Jones’ It can be very tempting to have a few closing speech which is usually around jars of Dutch Courage, but try not to get 6pm and lasts half an hour, it’s a great, drunk at the festival. You’ll probably be positive way to round off the event. OK and not offend anyone, spew on And last but by no means least… anybody or make anyone think you’re odd, but is it worth the risk? So if there is a session you are DES- PERATE to see ﬁ rsthand, make sure Remember, it’s a small pond. Try not to you get there as early as possible. slag anyone off. You never know who knows who. This includes various TV Be sociable. Live tweeting is a thing programmes, movies, etc. It’s just not and we encourage delegates to use the worth it. No one says you have to tell #LondonSWF hashtag and share their lies about how much you loved a piece new-found knowledge and insights from of work if you didn’t, but be positive or the event itself in real time. But do make risk looking like an amateur. sure your mobiles are on silent so if they ring, it doesn’t disrupt anything. Equally, Concluding those on either side of live tweeters? Decide what you want … and go get it, Don’t accuse them of not listening, or tiger! Just remember your loglines, your typing too loudly! ;) business cards and don’t be a div. It’s all about making connections and forging Do note volunteers and LSF staff will those all-important relationships. Good come in and out of sessions as we try luck! 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.

22017017 Book.inddBook.indd 4242 007/08/20177/08/2017 17:41:1017:41:10 NETWORKING: A BLUFFER’S GUIDE By Chris Jones it’s OK to just walk up and start talking. Booze, a darkened room and a bit of Talent is great, but relationships get you music makes it easier. hired. It’s not about collecting business cards and convincing yourself that those Don’t be afraid cards equal a relationship – it’s about The most important thing to remember is REALLY connecting with other people in that the person you are approaching is a meaningful way. as nervous as you. They have insecuri- ties too. In fact, the real irony is that they That’s why we network. To make new will probably be thankful that you came friends within our professional sphere. to them, and secretly wish that they were So the real secret to networking is to just as good at networking as you! Yes, I get hang out like you would with friends, but it, you don’t want to do it. None of us move around the group(s) more system- really enjoy it. But ﬁ lms don’t get made atically. You are looking for people with in a vacuum and we all need friends. So whom you click, with shared values and take the plunge. You will be pleasantly vision, people who YOU can help, and surprised. lastly, people who can help you too.

The best thing about networking at the Look people in the eye and London Screenwriters’ Festival is that shake hands conﬁ dently you are already amongst friends. So When approaching, make eye con- don’t be shy. tact, smile, introduce yourself, shake hands (not limply) and speak up. When Networking Events someone shakes hands with that ‘limp’ These events work because we all agree handshake, you are sending a very to get together in one space at the same direct message – I don’t want to touch time with an implicit agreement that you. If you mumble when talking, you

22017017 Book.inddBook.indd 4343 007/08/20177/08/2017 17:41:1017:41:10 are simply projecting: What I am saying for more of the time. When you have is not worth listening to. There are plenty something genuinely relevant, illuminat- other people in the room, why would ing or valuable, of course get involved. anyone waste time with someone who Remember, experienced people talk won’t shake your hand or speak up? Get about the industry all the time and most out of your comfort zone and COMMU- of us can’t compete on that level, we just NICATE with conﬁ dence and clarity. don’t have the knowledge, peer group and relationships. But talking about ‘the Ask a question to start the relationship. kids’, assuming you both have children, An easy way in is to ask a question… IS somewhere that you will both share ‘How are you feeling?’, ‘Did you see that expertise, opinion and rapport. last session?’, ‘How did you get on in your pitches?’ Keep opening questions lighter, more personal and conversa- Don’t Stay In One Place tional. There will be time after you have Every conversation has a natural life – made friends to ask about how to send when that’s over, move on. Don’t linger them a script. awkwardly. It’s totally ﬁ ne to say ‘It was great to meet, and there are so many others I want to meet here too, so I am Ask questions and listen going say to goodbye for now…’ Shake Don’t launch into how cool you are and hands, smile and move on. And if some- how amazing your script is. Doing this one says that to you, don’t get upset. It’s could just get you into the competitive part of the unwritten agreement we make cycle of mine is better than yours, and with each other at these professional that’s NOT a good way to make powerful events and parties. new friends and allies. Ask questions. Interesting questions. Even personal questions. Be genuine in your conver- Your need to be ‘right’… sation and listen. You’d be amazed The need to be ‘right’ is toxic - we how much more likeable most of us can all see it in others, but so rarely in become if we just keep our mouths shut ourselves. Being ‘right’ will shut down

22017017 Book.inddBook.indd 4444 007/08/20177/08/2017 17:41:1117:41:11 conversations, even when you are, in others will always pay you dividends fact, ‘right’! So give it up and choose to in the long run. It also helps you move listen instead. I found out a long time ago around the room with great agility. that ‘right’ and ‘wrong’ are opinions and not facts. Be credible You may not know everything about the Compliment honestly, but business and that’s OK. don’t go overboard Being credible is about learning and Everyone likes to be complimented, so applying that knowledge. It’s about offer compliments. But don’t go over- humility and courage. It’s not just about board, you will come across as a bit des- connections and credits. And we all perate. Equally, don’t be disingenuous; have something to offer. Bottom line, do we can all spot a bullshitter. And no-one not bullshit the bullshitters. Anyone with wants to be friends with a desperate experience has heard every line before, bullshitter. so don’t try and appear more important than you really are. You are you, and Be with that person you have a huge amount to offer. Don’t When you are with a person, BE with sell yourself short by pretending to be that person. There is a temptation to someone you are not. look over shoulders, eyeing up the next person to network with, but try to avoid it. Listen, connect and communicate. Give and take cards (and Ninety percent of people cannot or do follow up) not do this. Take business cards and exchange them – but understand that most will end up in Be a facilitator the bin. You don’t want to leave with 300 business cards from people you met, Think like a producer and introduce you want to leave empowered with FIVE others who you know could beneﬁ t from new and meaningful relationships. the relationship. Facilitating success in 45

22017017 Book.inddBook.indd 4545 007/08/20177/08/2017 17:41:1117:41:11 Understand What People Don’t take it too seriously Want (and that’s you too) Smile and make friends. It’s not a competition. Successful and powerful We are all human animals and basically networking is just about are chatting, want the same thing. When we enter meeting new friends and having you fun. a new relationship (networking) we will If someone is rude, they are probably in- ask… What can this person do for me? secure, bluffi ng it, tired and just generally Can they entertain me? Can they help being human. Let it go. 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 Finally, remember we are what they are looking for. It’s what you all in this game together are looking for too. Don’t take it per- The industry grows the more we collabo- sonally if people don’t respond to your rate and help each other. Offer help and overtures – not everyone likes the same you will receive it. Be humble and you kind of music, Star Trek quotes, arthouse will be rewarded with genuine relation- movies, strong cheese etc… ships. Be bold and courageous and you will fi nd success. Networking is not right or wrong, it’s just about people connecting. Often we are See you at the bar! a tad insecure and a little tipsy too. If you don’t fi nd what you are looking for, smile and move on with effortless grace. There are plenty more people to meet.

22017017 Book.inddBook.indd 4646 007/08/20177/08/2017 17:41:1217:41:12 advertisment tbc

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22017017 Book.inddBook.indd 4848 007/08/20177/08/2017 17:41:1217:41:12 PITCHFEST: 20 EASY STEPS by Bob Schultz Go The Extra Mile! Design a one- sheet. It should look as professional as pos- What you can do now sible – spend money on a professional 1. Finish your script. If you get a graphic designer (try www.PeoplePer- script request, you’re going to want Hour.com and offer £20). If you can’t to be able to send it right away. afford one, do the best you can. Include Plus, a tight, effective script makes it an eye-catching image (like you might easier to… ﬁ nd on a movie poster), a logline, and 2. Develop a logline. Title, genre, your contact info. protagonist, goal, obstacles, ending. Tight and engaging, and reﬂ ective of your script: If the script is funny, What you can do a week make the logline funny. If your script before is a thriller, make the logline thrilling. 5. Print business cards. These will be 3. Visit LSFConnect. Previous valuable throughout the festival, not attendees, LSF staff, and Pitching just at the pitching, but can easily be & PitchFest experts spend time in forgotten. LSF’s online community, ready to offer advice. All you need to do is visit LSFConnect.com and get engaged right away. 4. Check out the execs. You can now see who will be present at the PitchFest. One or two may drop out and more will be added, but it’s 85% complete.

22017017 Book.inddBook.indd 4949 007/08/20177/08/2017 17:41:1317:41:13 6. Research all of the companies who will be attending your pitch- What you can do a day ing session. Even the ones you think you might not be interested before in. Know what they’ve done before, 8. Re-read your script. Proofread, what they have in the pipeline, yes, but familiarize yourself with and what they are seeking at the your character and story arcs, act pitchfest. Google is your friend. So breaks, A and B stories, themes, is IMDb Pro and Deadline.com. story beats, structure, and every Pitching isn’t a performance, it’s a other aspect of the craft. Have an business meeting. Go in prepared. idea of other projects it is similar to 7. Practice, practice, practice. Note (ﬁ nancially successful ones), who that practicing is different from would be good to star in it, and any rehearsing. Don’t recite your pitch. elements outside of the script you Instead, develop pitching SKILLS. have access to (locations, cars, Convince your friends to see movies money, etc.) You never know what and shows you’ve already seen. Try questions the executive might have. to convince the barista to draw a 9. Upload your script and one-sheet dinosaur on your cup instead of writ- onto your phone. Nobody accepts ing your name. Engage with cahiers hard copies anymore, and even at the supermarket. Get accustomed to listening closely and engaging strangers on their terms.

Go The Extra Mile! Print your one- sheets so you have it on nice glossy paper. Make them look as professional as possible. If execs are unsure about the script, they will check out the one- sheet the next day. Wow them.

22017017 Book.inddBook.indd 5050 007/08/20177/08/2017 17:41:1317:41:13 memory sticks are passé. Be ready to email your script at a moment’s notice. It’s the 21st century, act like it. 10. Choose your outﬁ t. Profession- al and comfortable. If you have a costume you’d like to wear, now is a great time to put it in the closet and never, ever take it out again.

Go The Extra Mile! Meet with other LSF delegates BEFORE LSF and pitch and What you can do during coach each other. your pitch 14. Don’t overestimate the exec. What you can do a minute Remember, that exec across from you is just a person who has made before a career telling stories. You have a 11. Relax. This pitch isn’t the whole story. Tell it. world. The worst that can happen 15. Be concise. You have ﬁ ve minutes is the executive says no. You have for your meeting, but there needs no deal now, so you have nothing to be room for questions and small to lose. talk. If you can start your conver- 12. Pop a mint in your mouth. Obvi- sation with a 1 minute pitch, that’s ous reasons. good. With a 30-second pitch, 13. Body language. Does she look even better. Try to get it down to bored? Anxious? Tired? When it’s 10 words. If those ten words result your turn to pitch, adjust your energy in the exec saying, “Tell me more,” level to engage with her. they’ve done their job. 16. Once she say yes, all she can do Go The Extra Mile! Don’t ﬁ xate on your is say no. Thank her, shake her pitch, instead build a relationship. 51

22017017 Book.inddBook.indd 5151 007/08/20177/08/2017 17:41:1417:41:14 hand, and head to your next queue. A producer must juggle a long list of If it’s a long one, take the time to confl icting priorities. If she makes a email your script right then and suggestion you disagree with, polite- there. ly ask the motivation for the change and suggest an alternate solution to Go The Extra Mile! Ask the executive achieve the same goal. about herself. What does she want to 20. Keep on writing. You don’t want to produce? Why did she get into the busi- be a one-and-done writer. Agents ness in the fi rst place? Favorite movies/ will want to represent a writer who TV shows? can earn them more than just the one commission. Producers, if they What you can do after your like your material, will want more as you become less of a risk. A writer pitch writes. Don’t just sit around waiting 17. Send the script to everyone who for your ship to come in. You go get requested it. You would be sur- some lumber and build your own prised how many writers chicken ship. out, plagued by self-doubt. If you pitched a script that’s ready to go, Go The Extra Mile! Approach your then let it go. If not, then get it ready executive contacts at one of LSF’s and send it when it is. But don’t let a networking events and chat longer about script request evaporate. her goals and favorite shows. Make that 18. Follow up six weeks later. If you connection personal and stronger. haven’t heard back, a polite follow-up is appropriate, but don’t act Above all, be professional and courte- entitled or angry. ous, always. A producer isn’t just looking 19. Be open to notes. Writing is soli- for quality writing, she will be looking for tary, but fi lmmaking is collaborative. a quality person who writes. Best of luck!

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22017017 Book.inddBook.indd 5353 007/08/20177/08/2017 17:41:1617:41:16 THE IMPACT OF #IMPACT50FILM By Dee Chilton However it’s not just my own two short fi lms (three if you count the other How one screenwriter turned fi lm- fabulous version of one script anoth- maker in 2017. er talented team has shot), it’s all the other Impact stories and fi lms I’ve been Anyone who submitted stories to the ‘Im- privileged to read and watch during the pact50Film’ already knows the immense whole process. value of, and superb underlying premise behind, this Create50 initiative: to get Regardless of whether my fi lms, or fi lms writers collaborating with fi lmmakers made by others from my scripts, make it and/or making stuff themselves, in other into the fi nal edit, I feel very much part of words get us to take ACTION and not the overall fi lm and can’t wait to see the wait for anyone else’s permission. resulting feature up on the big screen.

For me, it’s been an amazing playground So what have I learned (or been remind- in which to write, feedback, enhance ed of) during this process? So much I my writing skills, expand my fi lmmaking couldn’t possibly fi t it all in this article (or knowledge and collaborate to produce book even), so here are the highlights. something tangible. I’ve seen all my initial two page scripts develop and ma- ture, two of which have been beautifully brought to life now. I’ve enjoyed collabo- rations on two very different scripts, been heavily involved in two very different shoot days and advised a little from afar on one other. All of which have been awe inspiring to be a part of. How often is a writer thanked by an actor for being ‘allowed’ to bring their character to life and be in a fi lm?

22017017 Book.inddBook.indd 5454 007/08/20177/08/2017 17:41:1617:41:16 • In the process of rewriting with a producer/director/fi lmmaker, be prepared to ‘defend’ your words, but not precious or intransigent about them. • Always be prepared to listen and be open to changes to make things clearer/better/stronger for the good of the story/characters/fi lm (this goes for the edit too). • Once the time comes to lift the fi nal- ised words from the page, they are not ‘my’ fi lms, they are ‘our’ fi lms. Having seen the edits of all three ver- • Be a team player - stay fl exible, sions, I’m overwhelmed with pride, not adaptable and open to your team’s for myself, but for our fi lms and for every- suggestions and ideas, but support one who has contributed to their creation the director’s vision; they must have throughout this whole process. the fi nal say. • Do what you can to make the shoot To know that my little ink blobs have a fun place to be and ensure all translated to those beautiful images on involved know how valued their screen. contribution is. • Everyone being a supportive col- To see characters brought alive and laborator creates a tight knit ‘family’ speaking my words, making them work of like-minded people striving to far better than they were written is a sub- produce the best fi lm they can. lime experience, one that spurs me on to • This all led to us having great atmo- do more and do even better. spheres on set. This allowed ‘happy accidents’ on the day of the shoots to feel like they were planned. This was where the creative ‘magic’ lay.

22017017 Book.inddBook.indd 5555 007/08/20177/08/2017 17:41:1617:41:16 DIALOGUE WITH ROBERT MCKEE What makes some dialogue sparkle There could be a disconnect between and jump off the page and into an ac- truth and authenticity in a scene you ﬁ nd tor’s mouth, where other dialogue is leaden because you’re not involved. You leaden, perhaps even true or authen- don’t believe whatever it is the charac- tic, but also dull? ters are doing through what they are saying. Even though it may be colloquial Dialogue that jumps off the page is or typical of whatever such a character dialogue that calls attention to itself as might say, it’s not authentic or true to dialogue. Dialogue that “sparkles” is sort what that character should be saying in of like “The Terminator” and the line “I’ll that scene at that moment. be back” or in “Sudden Impact” when Dirty Harry says “Go ahead. Make my When you lose interest in a scene and day.” Bits of dialogue that stick in the the dialogue calls attention to itself as mind and become repeatable outside just a bunch of words you don’t believe, of the context of the story. I don’t think the problem is in the subtext. It’s not that’s a good idea. Dialogue should not necessarily in what the characters are “jump off the page.” On the other hand, saying. It’s what the characters are it should get into the actor’s mouth in the doing. When characters speak, they most natural character-speciﬁ c way. are taking an action and/or reacting to the action of another character in the Where dialogue is leaden, when the scene. Underneath what’s being said reader or an audience has a reaction outwardly, there are actions characters against dialogue and feels the sensation are taking and reactions characters are in the scene is leaden, it simply means having. The action-reaction that’s going they are not involved in the scene on underneath the dialogue is where the anymore and therefore time is passing interest is for the audience. The dialogue excruciatingly slow. The dialogue is not is simply the tactic the character is taking interesting to them, they are not involved outwardly to carry out that inner action. in the scene. The scene itself and anything being said is boring. That becomes The cure to leaden dialogue is not the experience of “leaden.” necessarily in the words themselves at

22017017 Book.inddBook.indd 5656 007/08/20177/08/2017 17:41:1617:41:16 all, but rather in making certain that by character goes about trying to get it is action-reaction, action-reaction, what the inner life of the scene. This includes the characters are doing in a struggle the motivations that drive that intention, to get what each of them wants out even down to the subconscious mind. of the scene captures interest. The The secret, so to speak, of subtext is to dialogue becomes tactics characters are just pay attention to it. To realize what’s using in their struggle to get what they really going on inside of a character con- want. When the audience is involved sciously and subconsciously and what in the give-and-take of the tactics of the they really want at this moment and to characters as they say and do outwardly identify that with a scene intention. You what they say and do, when the audi- have to ask “What does this character ence is involved in the inner struggles of want at this point in their life?” “What these characters one against the other, do they want to get in this scene as a then the dialogue, as you put it, will step toward their object of desire (i.e. sparkle. what they want overall in the life of their story)?” Writing for subtext sounds easy to the beginner, where the expert knows By identifying the desire in the scene, both how important it can be and how the source of confl ict and antagonism challenging it is. What help can you against that character’s desire, and step- offer writers who want to write with by-step thinking of what that character more resonant subtext? would do inwardly that they express outwardly in the dialogue, connecting I’m not certain writing subtext sounds to the inner actions of the characters in easy to anybody, beginner or not. In their struggle to get what they want in the fact, I know from experience when I talk scene, creates subtext. about writing for subtext, young writers are paralyzed, they have no idea what And then, common sense says the I’m talking about and don’t have the fi rst characters have tactics, they have idea about going about doing it. strategies. They don’t say out loud fully and completely what they are thinking In my book, DIALOGUE: THE ART OF and feeling. They don’t turn around and VERBAL ACTION FOR THE PAGE, say “Look, what I really want from you is STAGE, AND SCREEN, there are six that you will show me a sign of love and chapters or more where I take various commitment in our relationship.” Nobody scenes apart to show how the actions in says things like that. Or, if they do, it’s the subtext build a scene progressively not actually what they want (laughs). It’s as the dialogue is the outer expression of just a tactic to get something else. that. The way to create subtext under- You have to fi gure out what the charac- neath what is being said is to pay atten- ter really wants, why they want it, what’s tion to what the characters are actually stopping them from getting it and then doing and actually thinking and feeling in what would they outwardly do to cause a their desires while they go about doing it. reaction in the world that would get them what they inwardly want. What the character wants and how the

22017017 Book.inddBook.indd 5757 007/08/20177/08/2017 17:41:1717:41:17 How can we avoid writing clunky Of course they make an effort to speak dialogue? on the nose. You can write dialogue in which people are trying to say exactly You would have to analyze what exactly what they are thinking and feeling. I gave is “clunkiness.” There are going to be that example of somebody with their some very simple steps—dialogue is psychiatrist—the patient does everything clunky if just has too many words. If they can to say on the nose what they it’s taking more words than necessary are thinking and feeling to try to help the for the character to express outwardly psychiatrist to understand them. They in dialogue what they are trying to do are not holding anything back; they are inwardly in action. It can become clunky paying the psychologist very good mon- because they are using multi-syllabic ey to help them understand themselves. or poly-syllabic words when a one or They are being as outwardly honest two-syllable world will do the same. and frank as they possibly can be. And For example, I have a pet peeve with what’s the psychologist doing? Taking people who use the word “utilize.” notes. And what’s in those notes? What the patient is not saying. A psychologist “Utilize” is a three-syllable word when is not a stenographer. A psychologist is the one-syllable word “use” will always someone who is trained to look through substitute. There is no case in which the on the nose expression of their someone uses the word “utilize” in patients to realize what’s really going which you couldn’t substitute the word on in their subconscious mind and why “use.” So they use three syllables when there is a disconnect between what they one would do. But I know why they do think they do in life and what they really that, because “utilize’ sounds important. do in life. When people want to sound intelligent they add syllables to words and words to It’s not as if you can’t write on the nose. sentences and sentences to speeches, If it’s appropriate for the character to say they just talk more. out loud what they are really thinking and feeling, then ﬁ ne. But there always The cure for clunkiness is just a matter is a subtext underneath that. And that’s of economy and brevity in terms of the what keeps on the nose writing from number of words you use and the quality seeming on the nose. The ideal of all of the words you use. dialogue is that it is a transparency, that no matter how long a character tries Are there any strategies to rewrite to say out loud what they are exactly dialogue that is on the nose? thinking and feeling, the audience’s eye travels through the surface of the scene That goes back to what we were talking to the real thoughts, even subconscious about before. On the nose dialogue is thoughts and feelings that are going on dialogue without a subtext. underneath what the character is saying. That’s what’s the audience ﬁ nds capti- Of course people try to say out loud vating—they know what’s really going what they are fully thinking or talking. on inside the character better than the character.

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22017017 Book.inddBook.indd 5959 007/08/20177/08/2017 17:41:1717:41:17 It’s not a question of whether or not The reason we create character specifi c somebody will say out loud the truth voices, even within the same culture, is that they deeply believe in, it’s just that it to differentiate those characters one from becomes on the nose when there is no the other in order to tell the story all the subtext. The only time, generally, when better, because you avoid redundancy. we write on the nose dialogue without If characters react the same, speak the subtext is in fantasy writing or sci-fi , same, do the same things, if two char- where characters are allegorical types- acters are repeating each other, one of -hero, villain, etc., allegorical types not them has to be removed from the story to be mistaken for realistic characters. to avoid repetitiousness. Fine writing is In various forms of symbolic writing specifi c writing. we do write on the nose. We eliminate the subconscious mind, because the You have to fi nd not your voice as a subconscious, or even the unsaid writer, but character specifi c voices and conscious mind, makes people realistic. the key to character specifi c voices is In fantasy, you don’t want realism, you vocabulary. You go into the character’s want symbolism. In those cases you do mind and you look for all of those ob- write on the nose without a subtext. That jects, all of those actions that are unique is the exception. The strategy to an- to this character’s experience that swer that question is to put underneath express themself in word choices. There an awareness, a life underneath the is grammar and sentence constructions dialogue, conscious/subconscious drives that could also be character specifi c. the audience can become aware of that The place to start is vocabulary. People contradicts or contrasts with what the differentiate themselves by the choice character is actually saying. of words and they fi nd their choice of words in their vocabulary, and their vo- Writers often write in their own voice. cabulary is the result of the sum total of Are there any tricks writers can use to their cultural experience. Every sporting create more pronounced and con- event they’ve ever attended, every book trasting voices for their characters? they’ve ever read, every concert they’ve ever been to, every department store The goal of any beautiful cast design or they’ve ever shopped. How they have any well-told story is that every character lived and interacted with their culture in is distinctively different from every other every possible way has given them their character. How great these differences specifi c vocabulary and vocabulary is are between characters depends. But, the most critical step in making dialogue obviously you do not want redundancy. character-specifi c. You do not want two people speaking exactly the same. And you certainly don’t Do you have any tips on editing dia- necessarily want them talking in the writ- logue so that it lands on the listener er’s voice. You want to distinguish each with greater weight? character and give them an individual speech style. The famous “omit needless words” from Strunk and White’s “The Elements of

22017017 Book.inddBook.indd 6060 007/08/20177/08/2017 17:41:1717:41:17 Style” (Note for readers: an American English writing style guide) is the guiding The key then is where you do you place principle here. You edit dialogue by elim- that key word—at the beginning, in the inating all unnecessary words short of middle or toward the end? I urge people turning dialogue into a telegram (laughs). to use the periodic sentence. It’s the One of the most important steps is not suspense sentence. It’s the sentence only economy, but the placement of the you cannot know the meaning of until key word. Every sentence, generally, has you hear the very last word. By delaying a word or phrase within it that completes the meaning until the end of the line the its meaning. It could be the verb, it could audience then has to listen with curi- be the noun, but it’s a word or phrase osity wondering “What is this character that if you took it out of that line of dia- saying?” When the last word or phrase logue it wouldn’t make any sense. lands at the end of the sentence, sud-

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22017017 Book.inddBook.indd 6161 007/08/20177/08/2017 17:41:1717:41:17 denly the sentence has greater impact. What advice would you offer a writer If you do it the other way, if you start the starting a redraft, with particular em- sentence with the key word, then every- phasis on dialogue? thing after it is a modifi er. It risks losing interest. First and foremost, eliminate all unnecessary dialogue. Write as lean as Now, you can’t have every single line of you can. At the same time you have to dialogue end on its key word because think about the nature of the particular that becomes repetitious and it doesn’t characters and some characters are lo- sound like conversation. You always mix quacious, but they have to be loquacious periodic sentence with cumulative sen- in the most economical way possible. tences in order to create a conversation- If there’s a fault in writing dialogue that al tone. Generally speaking, withholding needs to be addressed as you rewrite, it the meaning until the end of the line tends to be overwriting. Say the absolute gives greater weight or impact to every maximum with the fewest possible words single speech. and yet retain the specifi c nature of the characters. Does character determine dialogue or the other way around? Exactly how much is too much or how little is too little nobody can say. The Yes, character determines dialogue. economy of language is the fi rst piece of On the other hand, suppose you found advice you give to any writer in a rewrite. a wonderful style of speech that really The second is—even if the dialogue is fascinates you and then it leads you to very economical—is it character spe- ask the question, “What kind of person cifi c? Do the characters tend to sound would talk like that?” As a result the alike, or worse, do they all sound like inspiration you found in the dialogue you? If so, then you have to go back into urges you to create a character who the story of these characters and imag- actually would use that kind of dialogue. ine the past lives of these characters In those cases the dialogue creates the and create a vocabulary for them. What character, but they are rare. When you has their life experience been like that write from the inside out, as I advocate in would add words and particular images my teachings, dialogue is the fi nal step, in language that these characters would it’s the frosting on the cake. You create tend to use to get what they want. characters, you bring them into confl ict, out of that you create story and then The two pieces of advice are economy ultimately you have to fi nd ways for them and specifi city: as little as necessary to speak. Ninety-nine percent of the time but unique and true to the character as you create the character the charac- by drawing upon their life history and ter then has to have a true speech style. drawing on the world around them and There are exceptions when dialogue their culture. or speech style actually becomes the inspiration for a character, but those are the exceptions.

22017017 Book.inddBook.indd 6262 007/08/20177/08/2017 17:41:1717:41:17 THE LONDON BREAKFAST CLUB The Breakfast Club is monthly initiative to connect creative and business professionals in ﬁ lm and TV. We do this by creating a safe place to network whilst listening to thought leaders, industry gurus and entrepreneurs.

The London Screenwriters’ Festival set it up as a monthly way to get screenwriters away from their screens, to inspire them through great information and speakers stories, and to help connect them with other creatives and Our home is the eclectic Phoenix strengthen their peer groups. Artists Club on the edge of Soho in central London. ‘A very inspiring morning with lots of valuable information... Looking forward Come along and get a shot of inspi- to the next one!’ ration as well as cracking information, Nicholas Burman-Vince, Screenwrit- and the opportunity to expand your er peer group.

There is usually one Breakfast club per ‘The atmosphere at these events is al- month as well as an archive of some ways uplifting. It reminds you why you of the past events that were ﬁ lmed or love writing so much. You go home audio recorded. renewed, ready to face the blank page again.’ There are two kinds that we run, early Caroline Slocock, Screenwriter breakfast with speakers on at nine, meaning you can still get to work after- www.LondonBreakfastClub.com ward. And afternoon ones that we tend to host on Fridays. 63

22017017 Book.inddBook.indd 6363 007/08/20177/08/2017 17:41:1817:41:18 GET £40 OFF WITH CODE LSF17 SCREENWRITING CRAFT CRASH COURSE With Lucy V Hay What happens over the 11th & 12th November 2017 two days? In this highly practical event, you will Where: Ealing Studios learn how to create screenplays that How much: £139 stand out from the tsunami of good www.screenwritingcrashcourse.com (but not killer) scripts out there… Key elements covered include: The Screenwriters’ Craft Crash is a must for any writer who needs to get • HOW to write MORE visually to laser focus on their actual pages and create powerful images in the elevate it from ‘good’ to ‘recommend’. readers mind Bring your laptops, pens, highlighters, • HOW to craft your characters print-outs and game-faces! Expect to so they become even more write and rewrite. unforgettable • HOW to write dialogue that Be it structure, theme, plot, characters, sparkles, giving unique voices to scene descriptions, dialogue… Each each character area will be addressed and you will • HOW to avoid dialogue taking over learn how to reﬁ ne, reduce and write your scenes with signiﬁ cantly greater impact. • WHICH structural methods will keep you on track and how to avoid overthinking • HOW to spot and avoid your ‘static scenes’ and ‘false movement’ and remove forever • WHY ‘good craft’ is NOT just screenplay formatting!

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22017017 Book.inddBook.indd 6464 007/08/20177/08/2017 17:41:1917:41:19 GET £40 OFF WITH CODE LSF17 WRITING TV With Pilar Alessandra relationships within your series th th that grab the hearts and minds of March 24 & 25 2018 readers and audiences alike • The unique rules of structuring and Where: Regents University outlining episode one. How much: £159 • How to build a world and draw www.writingtv.co.uk from it’s unique “rules”.

In an exciting atmosphere with around Guest speakers from leading UK 200 screenwriters, you will learn TV Production companies will be ‘through doing’… joining Pilar across the weekend to discuss what they’re looking for on • How to develop a “hook” for your their slate in 2018 and beyond, their series that reels in audiences and relationships with the commissioners commissioners and broadcasters, what they look for • Getting the form, genre and tone in a writer and how you can go about that’s right for your series getting your projects onto theirs (and • How to pitch your series and pilot their peers) read piles. episode so you go from “maybe” to “yes” www.writingtv.co.uk • How to create your series ‘bible’ • How to create a rich spectrum of characters that will ensure your series runs and runs • Fast and powerful tips for writing comedy and drama so you can write effectively and quickly • How to mine your concept and universe for numerous killer episodes • How to create compelling

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BREAKING INTO SCRIPT READING With Lucy V Hay What is included? rd th • Writing a fully professional report February 3 & 4 2018 • How to negotiate pay for your work and where to fi nd it Where: Ealing Studios • Techniques for constructive How much: £139 criticism and avoiding confl ict www.fi rstdraftwithpilar.com • What constitutes “marketability” • Identifying strong concepts Learn how to produce industry • Why context matters: how sample standard analysis for agents, scripts and sold scripts differ producers, production companies • Tips for helping writers improve and broadcasters – all of whom have their craft mountainous ‘read’ piles. The ability to • Understanding how logistics affect distinguish a ‘Pass’ from a ‘Consider’, fi lmmaking or even a ‘Recommend’ will make you • How to write positive script reports a valuable asset to the biggest and that get results for writers and most prolifi c production companies. execs and gets you re-hired for the Key elements covered include: next job • WHO uses script readers • WHAT the key components of a script report are • WHERE to source those elusive script reading jobs (even ones not advertised) • WHEN to walk away and avoid confl ict with writers • WHY reading as a job can improve your writing AND most importantly, your understanding of the business.

22017017 Book.inddBook.indd 6666 007/08/20177/08/2017 17:41:2017:41:20 TWISTED50 VOL.1 Get A Little Bit Twisted...

50 stories from 50 disturbed voices of modern horror…

Twisted 50 volume 1 is a deliciously dark slice of contemporary horror literature. Reading it is like attending a late night secret banquet where you know each course will serve up something unexpected, forbidden and unforgettably chilling. Take your private Twisted50 vol 2 is now in judging seat now for 50 luscious courses of and we should have the fi nal book terror, from 50 of the strongest voices out for Christmas. in modern horror. It was the fi rst book to come out of the LondonSWF The journey was at times very Create50 initiative and a resounding bumpy and some of the lessons success, knocking Stephen King from and personalities involved are quite the horror top spot on Amazon on the startling. We learned huge day of release. amounts about writers, book publishing and We also created an Audiobook which is marketing during the now on Audible. process of bringing the book to bookshelves, To celebrate, we hosted a fabulously and will be running a terrifying book launch and the session about Twisted50 Twisted50 Awards in February – you at the festival. This can watch the video of what happened session will NOT be on the App. fi lmed as there may be blood letting. There is also a very active website for the book at www.Twisted50.com.

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