Delegate Welcome Pack 2014

Home , Charlie Brooker, John Yorke (producer), Never Mind the Buzzcocks, Tom Bidwell, Tony Jordan

The London Screenwriters’ Festival is proudly sponsored by

1 Welcome To The London Screenwriters’ Festival 2014!

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

The LSF has fast become the most exciting, prestigious and largest event of its kind. Over the three days of the festival you can expect to gain a massive amount of screenwriting knowledge, make powerful new industry contacts and connect with a whole new group of like minded creatives.

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

My hope and belief is that the festival will change the way you look at your writing, your career and Plan for success at hopefully your life too. So open your mind and heart and get ready for one hell of an adventure. It’s LSF 2014 going to be awesome! Promise. To get the most from the festival, you need to do some planning.

While there is a TON of very cool stuff going on at the festival, we also know that many delegates miss out because they didn’t read Chris Jones the website, the emails or other messages Creative Director we send. www.LondonSWF.com That’s why we created this booklet, to give PS - There is a delegate area on the site where we you the complete lowdown in advance. share resources and updates. You will have been sent a login already for this, if not, drop Lucia an email at [email protected].

2 3 Welcome To The London Screenwriters’ Festival 2014!

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

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

2 3 Shape of the Festival “There are indeed some The festival runs for three days from October ‘rules’ that cannot be 24th to 26th (Friday to Sunday). The days start at 9.00am and end around 7.30pm (with broken. Chief among them: networking drinks running into the evening).

There will be a launch party on Thursday 23rd Don’t Bore The Audience” evening when you can also pick up your pass. The venue is Regent’s University in Regent’s Park. Ted Tally, Screenwriter On the first day of the festival, there will be a bottleneck as 700 delegates turn up to collect passes, so arrive early. We suggest no later than 8.30am on Friday 24th October.

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

Plan to be present as much as possible as the magic often happens when sharing breakfast, Wifi coffee or a drink. Regent’s University has just installed new WiFi and we hope this means there will Online be free access site wide this year. We will confirm this nearer the time. We have an official Twitter hashtag for the festival which is #LondonSWF. You can follow us on Twitter @LondonSWF

Join us on Facebook too at fb.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

No Recording Please Books

We record every session the speakers allow us There will be a bookstore onsite where to, so please respect their request. If it’s not being you can get signed books from our recorded by us, it’s confidential. speakers. If you think you might like to buy some books, remember to bring enough cash as the machine onsite charges £1.50 for withdrawal.

4 5 Shape of the Festival “There are indeed some The festival runs for three days from October ‘rules’ that cannot be 24th to 26th (Friday to Sunday). The days start at 9.00am and end around 7.30pm (with broken. Chief among them: networking drinks running into the evening).

Join us on Facebook too at fb.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

No Recording Please Books

4 5 Map of the Venue, Regent’s University Don’t panic! The Venue is smaller than it looks and you will quickly get your bearings. It’s essentially a large quad with rooms on all four sides. Out back in the private gardens will be the Final Draft Marquee.

Getting There

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

The address is Regent’s University, Inner Circle, Regent’s Park, London, NW1 4NS. Baker Street is the closest tube stop, around ten minutes walk to the university. There is a Google map with directions here http://goo.gl/maps/n01dk

Tube Directions: Exit Baker Street tube station, take the Marylebone Road exit and turn left. Walk past Madame Tussauds, before taking the next left onto York Gate, which continues onto York Bridge. Follow the road into Regent’s Park and the main entrance to Regent’s University will be on your left-hand side. Walking time is approximately 10 minutes. Please note that Baker Street “The first draft is nothing Underground Station is not wheelchair accessible. more than a starting point, It’s not advised to travel to the venue by car as parking is expensive and restricted. Allow time to get lost on your way on the first day ;o) so be wrong as fast as you

Do not lose your pass, replacements will cost £20. can” When you arrive we will also give you the most up Andrew Stanton, Director to date schedule and a map of the venue. There will also be a board with all the speakers listed on it, to and Screenwriter Remember The Clocks Change On Saturday Night jog your memory. REMEMBER, ARRIVE EARLY! On Saturday night / Sunday morning of the festival, the clocks will go back and hoorah, we And also, the clocks go back on Saturday night of all get an extra hour in bed! the festival, so you get an extra hour in bed.

6 7 Map of the Venue, Regent’s University Don’t panic! The Venue is smaller than it looks and you will quickly get your bearings. It’s essentially a large quad with rooms on all four sides. Out back in the private gardens will be the Final Draft Marquee.

Getting There

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

6 7 Thursday night launch event!

OFFICIAL DRINKS & NETWORKING TRAINING THE NIGHT BEFORE THE FESTIVAL BEGINS. Schedule Of Events October 23rd, 7.00pm, Regent’s University. The full schedule will go live some time in mid Join us for a drink on Thursday night as we October: http://tinyurl.com/LSF14-schedule open LSF 2014.

During the festival, there are four separate strands of events - this means that at any one time, four sessions are running concurrently. We film many sessions to help you with the choices you may face. We do not film all sessions as some speakers decline this.

Some sessions will be much more popular than others, and where possible, we will flag this up so that you can make informed choices. Between Where to Eat sessions there is always a half hour break minimum, with a longer one for lunch (around 90 There is food served at the venue, but it minutes). does get busy. We stagger events to try and avoid long waits at lunch (which helps), but All sessions are one hour, with the exception of mid Friday will be hectic, so you might want to morning double sessions which can last between grab some sandwiches from M&S at Baker an hour and a half and two and a half hours, Street tube on the way in. depending on the session and the speaker(s). Friday will be our busiest day and we recommend There will be food and drinks in the Final bringing a packed lunch if you want to avoid waiting Draft Marquee as well as the Refectory. in line. There is also a terrific small café across the road from the University on the inner circle, If you have applied for Pitching, Script Doctor called the Garden Café. Sessions, The Actors Table Read or the Labs, and if you are selected, we will endeavour to schedule you so that none overlap but we cannot promise we can do this. “Of all the reasons for • The Labs take place on Saturday morning only. • The Actors Table Read takes place on Saturday wanting to write, the afternoon and all Sunday. • The Pitching takes place all Friday, Saturday only one that nurtures us and Sunday. • The Script Doctors take place on Saturday through time is love of the and Sunday. work itself” As you can see, there are a lot of possible conflicts, but we will do our best to make sure we avoid Robert McKee problems.There will also be drinks on Friday and Saturday nights, and very informal drinks on Sunday night (and off site).

8 *NO AUDIO OR VIDEO RECORDING IS ALLOWED.9 WE FILM EVERYTHING PERMITTED BY SPEAKERS. Thursday night launch event!

8 *NO AUDIO OR VIDEO RECORDING IS ALLOWED.9 WE FILM EVERYTHING PERMITTED BY SPEAKERS. Speakers at the London Screenwriters’ Festival 2014 In case you missed them on the site you can check out the professionals attending… Headliners at the Festival

Joel Schumacher – Ted Tally – Screenwriter Director & Screenwriter Credits include: Silence Of The Credits include: The Lost Boys, Lambs, Red Dragon, The Juror The Client, Flatliners, Falling Ted Tally joins us at the Down, House of Cards LSF for a very special Known for his versatility, screening of the film which The Network Talent Directory style and ability to move won him an Oscar, the between genres, Joel is a outstanding ‘Silence Of Hollywood legend. The Lambs’ LSFConnect.com is our private delegate List your details in the talent directory for other network where you can connect with other screenwriters, filmmakers, producers and agents. screenwriters, producers and also delegates The talent directory will be published and shared attending this year. It’s also where we share all a few days before the festival. We will send PDF Lynda La Plante, CBE – William Nicholson – the past video sessions - there are around 150 copies to all delegates, all speakers and all pitch Screenwriter & Author Screenwriter & Novelist online now. execs attending the festival. Credits include: Prime Suspect Credits include: Gladiator, Les Lynda has created some Miserables, Mandela: Long Road To Freedom There are forums, groups and a chat room You must add your details BEFORE October 14th of the most iconic and successful British TV William Nicholson is where we congregate to discuss the festival and 2014 at 23:59. If you do not complete the form YOU a British screenwriter, series, including Prime screenwriting. We recommend you create a profile WILL NOT APPEAR IN THE TALENT DIRECTORY. playwright, and novelist Suspect, Widows and who has been nominated BEFORE the festival, in fact as soon as possible. You can add your details from the SBI page here: The Governor. twice for an Oscar. We will use the headshot you upload in the network http://tinyurl.com/LSF2014 for the delegate book. Once you have entered the data, you cannot David Reynolds – Pilar Alessandra – Script There is a two minute orientation video in the change it, so take your time to get it right. We will Consultant & Educator network when you log in - please watch it, it’s only a copy your photo from the delegate network (please Screenwriter Disney and Pixar writer Credits include: The Coffee Break few minutes long. The network will get VERY busy ensure you have a photo in the network). If you David Reynolds credits Screenwriter in the run up to the festival, and for about a month have not joined the network, email me and I will include; Finding Nemo, Pilar’s students and clients have written for Lost, after the festival. It’s available year round and you send you an invite ([email protected]). Toy Story 2 & 3 and The Emperor’s New Groove. Prison Break, Nip Tuck, can periodically login for inspiration or instruction House of Lies, CSI and from one of the past session videos. Family Guy.

As we edit session videos from this year’s festival, they will be uploaded into the network (this takes around three months to do them all). If you missed Julie Gray – Script Guru Nik Powell – Producer & your invite, drop me an email and I will sign you up - & Story Development Director of National Film Consultant and Television School [email protected] Author: Just Effing Entertain Me: Credits include: The Crying A Screenwriter’s Atlas Game, Mona Lisa Watch past videos at http://www.lsfconnect.com/ Story analyst, Julie Virgin co-founder turned directed the Just Effing Producer, Nik is the man page/video-archive. Read the forums at http://www. Screenwriting Competition behind some of the most lsfconnect.com/forum. Meet other delegates at for 6 years. successful and acclaimed http://www.lsfconnect.com/profiles/members/ British films of all time. VOLUNTEERS

The festival is run on love. That love starts with our NOTE: This booklet was produced two weeks volunteers who frankly, are superheros in disguise. before the festival and as such there are likely to They are here to help so ask if you need support. be some speaker amendments. You can see updates of new speakers not in this booklet in the Final Draft Marquee.

10 11 Speakers at the London Screenwriters’ Festival 2014 In case you missed them on the site you can check out the professionals attending… Headliners at the Festival

10 11 Screenwriters speaking at the Festival Merlin Ward – Nathan Cockerill – Screenwriter & Screenwriter Playwright Credits include: M.I.High, Peter Amma Asante – Writer Charlie Brooker – Writer Credits include: The Widow Rabbit, House Of Anubis & Director Credits include: Black Mirror, (Play), Out Of Bounds Nathan is a Scriptwriter Credits include: A Way Of Life Dead Set, A Touch Of Cloth Merlin has successfully with eighteen years Writer and Director Charlie Brooker has transferred his experience writing for Amma was recently worked across the Screenwriting skills to the both children’s and adult announced as one of spectrum of media, as a stage, to great effect! television. Variety’s ‘10 Directors to writer, producer, journalist, Watch’ this year. cartoonist and television and radio presenter. Tony Grisoni – William Ivory – Screenwriter Screenwriter & Credits include: Southcliffe, Fear Producer Claudia Myers – Danny Robins - and Loathing in Las Vegas Credits include: Made In Screenwriter & Director Screenwriter & Tony joins us at the LSF Dagenham, Truckers, Common Credits include: Fort Bliss, The Broadcaster to talk about his gripping As Muck BAFTA nominated CH4 Long Road Back, Kettle Of Fish Credits include: Young Dracula, Actor turned Screenwriter drama Southcliffe. Claudia is an Award We Are History William Ivory is perhaps winning Screenwriter, Danny created the best known for the cracking Director and Educator; her hugely successful BAFTA ‘Made In Dagenham’. latest feature ‘Fort Bliss’ is and RTS Award winning released autumn 2014. BBC children’s series Young Dracula. Tony Jordan – Writer Kurti & Doyle – and producer Screenwriters Credits include: Hustle, Life On Credits include: Going Postal, Pete Sinclair – Dennis Kelly – Mars, Holby Blue Primeval, Sinbad Screenwriter Screenwriter He’s written for and created Richard Kurti and Bev Doyle Credits Include: Lead Balloon, Credits include: Utopia, Pulling some of the most iconic broke into the business by Never Mind The Buzzcocks Dennis wrote and co- and successful British TV writing and selling a spec Has written for many of the produced his most recent series, including Life on script, Newton’s Law, which most popular TV and Radio series Utopia and co-wrote Mars and East Enders. led to 14 further movie sit-coms and shows of the award-winning comedy commissions. recent years. series Pulling.

Phil Ford – Screenwriter Griff Rhys Jones – Credits include: The Sarah Writer, actor and Jane Adventures, Dr Who, presenter Elly Brewer – Ged Parsons – Torchwood Credits include: Smith & Jones, Screenwriter Screenwriter Award winner Phil has Not The Nine O’Clock News written hundreds of hours Credits include: The Story Of Credits include: Have I Got News Griff is one of the UK’s of classic TV including The Tracy Beaker, The Dumping For You, Mock The Week most revered and Sarah Jane Adventures, Dr Ground Ged Parsons is an award- renowned comedians, Who and Torchwood. Elly is a multi-award winning writer of TV and writers, actors and winning writer who’s been radio and has written for television. writing TV for young people some of the biggest names since the mid-80’s. in comedy. Paul Bassett Davies – Robert Thorogood – Writer Screenwriter Credits include: Spitting Image, Robert is the creator and Jonathan Asser – Jonathan Ruffle – Writer Alas Smith And Jones, Rory lead writer of the 8 x 60’ Screenwriter & Producer Bremner, Magic Roundabout BBC 1 television series Credits include: Starred Up Credits include: Tommies, Never Paul has written for and ‘Death in Paradise’, his first Jonathan was voted Best Mind The Buzzcock directed the biggest names broadcast credit. British Newcomer at the Jonathan created, writes in comedy. He’s also creative London Film Festival 2013. and produces the a four- director of The London and-a-half year real-time Comedy Writers’ Festival drama - Tommies which airs on BBC Radio this autumn.

12 13 Screenwriters speaking at the Festival Merlin Ward – Nathan Cockerill – Screenwriter & Screenwriter Playwright Credits include: M.I.High, Peter Amma Asante – Writer Charlie Brooker – Writer Credits include: The Widow Rabbit, House Of Anubis & Director Credits include: Black Mirror, (Play), Out Of Bounds Nathan is a Scriptwriter Credits include: A Way Of Life Dead Set, A Touch Of Cloth Merlin has successfully with eighteen years Writer and Director Charlie Brooker has transferred his experience writing for Amma was recently worked across the Screenwriting skills to the both children’s and adult announced as one of spectrum of media, as a stage, to great effect! television. Variety’s ‘10 Directors to writer, producer, journalist, Watch’ this year. cartoonist and television and radio presenter. Tony Grisoni – William Ivory – Screenwriter Screenwriter & Credits include: Southcliffe, Fear Producer Claudia Myers – Danny Robins - and Loathing in Las Vegas Credits include: Made In Screenwriter & Director Screenwriter & Tony joins us at the LSF Dagenham, Truckers, Common Credits include: Fort Bliss, The Broadcaster to talk about his gripping As Muck BAFTA nominated CH4 Long Road Back, Kettle Of Fish Credits include: Young Dracula, Actor turned Screenwriter drama Southcliffe. Claudia is an Award We Are History William Ivory is perhaps winning Screenwriter, Danny created the best known for the cracking Director and Educator; her hugely successful BAFTA ‘Made In Dagenham’. latest feature ‘Fort Bliss’ is and RTS Award winning released autumn 2014. BBC children’s series Young Dracula. Tony Jordan – Writer Kurti & Doyle – and producer Screenwriters Credits include: Hustle, Life On Credits include: Going Postal, Pete Sinclair – Dennis Kelly – Mars, Holby Blue Primeval, Sinbad Screenwriter Screenwriter He’s written for and created Richard Kurti and Bev Doyle Credits Include: Lead Balloon, Credits include: Utopia, Pulling some of the most iconic broke into the business by Never Mind The Buzzcocks Dennis wrote and co- and successful British TV writing and selling a spec Has written for many of the produced his most recent series, including Life on script, Newton’s Law, which most popular TV and Radio series Utopia and co-wrote Mars and East Enders. led to 14 further movie sit-coms and shows of the award-winning comedy commissions. recent years. series Pulling.

12 13 Steven Ince – Writer and Barbara Machin – Gavin Poolman – Mellie Buse – designer Screenwriter Financier Screenwriter & Producer Credits Include: Broken Sword: Credits include: Waking The Credits include: Festival Express, Credits include: Grandpa In My The Sleeping Dragon Dead, The Bill The Zookeeper Pocket Author of ‘Writing for Barbara Machin is the Seasoned Producer and Grandpa In My Pocket Video Games’ and an BAFTA and EMMY award financier, Gavin is also has received three BAFTA award-winning games winning screenwriter who co-founder of Apollo Media nominations and won Ltd and heads up a $100m script writer. created BBC1’s worldwide the 2010 Welsh BAFTA selling hit series Waking film fund. for Best Children’s The Dead. Programme.

Daniel Martin Eckhart – Emma Reeves - Steve La Rue – TV John Yorke – MD Scriptwriter Screenwriter Development Exec Company Pictures Credits include: Brother Grimm, Credits include: The Dumping Credits include: Buffy, X-Files, Credits include: Shameless, Life Blood Eagle Ground, Tracy Beaker Returns The Simpsons On Mars, Bodies These days Daniel Emma is a versatile and Steve was instrumental in the John is Managing Director works with some of experienced writer working development and production of of Company Pictures, the Germany’s best networks, across adult and children’s TV classics Buffy the Vampire UK drama independent producers, directors and TV drama and the stage. Slayer, The X-Files, Millennium, producing Skins, actors creating top-rated King of the Hill, Battlestar Shameless and The TV movies. Galactica, and The Simpsons. White Queen.

Laura Wade – Michael Clarkson – Chris Sussman – Stephen Follows – Screenwriter & Writer & Director Commissioning Editor Writer and producer Playwright Credits include: Death Ship 666! BBC Comedy Credits include: Baseline, Credits include: The Riot Club Michael has just finished Credits include: Not Going Sign Language Laura’s Screenwriting his second 5 star Out, Him & Her, The Peter Stephen Follows is an feature debut is the production ‘Once Upon a Serafinowicz Show award-winning writer critically acclaimed ‘The Nightmare’ after his cult-hit Chris oversees and producer. Riot Club’ adapted from her ‘Titanic’ parody ‘Death Ship development of new own stage play ‘Posh’. 666!’ sold out in Edinburgh scripts and pilots for and London respectively. BBC Comedy.

Michael Mueller– John Lloyd - Julian Friedmann – Film, Jeremy Howe – Drama Screenwriter & Screenwriter & TV and literary agent Commissioning Editor | Producer Producer Agent and great supporter of Radio 4 Credits Include: The Beat Credits include: Blackadder, Not emerging talent. Credits include: The Archers, Beneath My Feet, Dummy The Nine O’Clock News, To The Julian has years of Bloomsday Michael Mueller is an Manor Born experience as a literary Jeremy is responsible for award winning Film and Original producer of Not agent and was the founder commissioning over 300 Television writer. The Nine O’Clock News, of ScriptWriter magazine. titles a year for Radio 4. Spitting Image, Blackadder and QI.

Ned Dowd – Producer Cameron Roach - People who get stuff made Apocalypto, King Arthur, Commissioning Editor | Ondine, Shanghai Noon and Last SKY Drama Of The Mohicans Credits include: Bad Girls, Life On Apocalypto, King Arthur, Maggie Ellis – Head of Simon Harper – Series Mars, Silk Shanghai Noon and Last Artists’ Moving Image | Producer of Holby City Now at SKY Drama, Of The Mohicans are a Film London Credits include: Holby City Cameron has also worked handful of films on Ned’s Credits include: Shifty, Simon has many years of at Tiger Aspect, ITV, BBC, resume - it reads more like Strawberry Fields script editing under his belt Kudos and Shed. At Film London Maggie is and is now Series Producer our movie collection! responsible for overseeing on Holby City. the agency’s commissioning of artists’ moving image work & talent development.

14 15 Steven Ince – Writer and Barbara Machin – Gavin Poolman – Mellie Buse – designer Screenwriter Financier Screenwriter & Producer Credits Include: Broken Sword: Credits include: Waking The Credits include: Festival Express, Credits include: Grandpa In My The Sleeping Dragon Dead, The Bill The Zookeeper Pocket Author of ‘Writing for Barbara Machin is the Seasoned Producer and Grandpa In My Pocket Video Games’ and an BAFTA and EMMY award financier, Gavin is also has received three BAFTA award-winning games winning screenwriter who co-founder of Apollo Media nominations and won Ltd and heads up a $100m script writer. created BBC1’s worldwide the 2010 Welsh BAFTA selling hit series Waking film fund. for Best Children’s The Dead. Programme.

14 15 Richard Holmes – Justin Trefgarne – Marc Munden - Producer Paul Ashton – Senior Film Producer. Writer & Director From ‘Soft Top...’ and ‘Shooting Exec | Creative England Director Credits include: Utopia, The Fish’ to ‘Eden Lake’ and Paul leads the BFI NET. Credits include: Narcopolis, Devil’s Whore ‘Resistance’ WORK Talent Centre Peter Rabbit Utopia Director Marc Prolific and tenacious in Sheffield, supporting Narcopolis writer & director was listed by Broadcast British producer who filmmakers towards their Justin was featured as one magazine as the No.1 gets films made where first feature via short film of Screen International’s director working in others fail... production and feature Stars of Tomorrow line-up television in their annual film development. in 2008. Hot 100 edition 2013.

Sophie Gardiner – David Livingstone - Eran Creevy – Debbie Isitt - Commissioning Editor, Producer Director and Screenwriter and Drama | Channel 4 and E4, Credits Credits include: Pride, Billy Elliot, Screenwriter Director include: Eureka Street, Sinbad United 93 Credits Include: Shifty, Welcome Credits Include: Confetti, Nativity Sophie has over a decade David was President of To The Punch 1, 2 & 3 in the business Producing Worldwide Marketing and Eran wrote and directed Debbie’s unique and Commissioning high Distribution at Universal ‘Shifty’ and Ridley Scott improvisational methods Exec Produced ‘Welcome have attracted the cream of quality TV Drama. Pictures and Working Title. His first feature as Producer is To The Punch’ UK comedy to her projects. the current UK smash ‘Pride’.

Fiona Gilles – Producer Isabelle Pechou – Fiction Alice Troughton – Adele Kirby - & Actor & Scripted Programs Director Creative Fitness Credits include: The Beat Scouting Credits include: Cucumber, Trainer Beneath My Feet, City Slacker |France Television Merlin, The Sarah Jane Adele trains creative Fiona is a producer with At France Television, Adventures people for a living while Alice has Directed writing short stories, blogs Scoop Films as well as Isabelle oversees Fiction being a successful stage umpteen episodes of many and spec screenplays. scouting at the newly of the UK’s most innovative and screen actor. created International TV and successful TV shows. Scouting Unit.

Jane Berthoud – Head Yvonne Grace – Actors speaking at the Festival of Radio Comedy BBC Television Drama Credits include: The News Quiz, Producer/Script Editor/ Just A Minute Writer Adeel Akhtar - Actor Fiona O’Shaughnessy Jane makes around 160 Credits include: Eastenders, Credits include: Utopia, Four - Actress hours of radio content each Holby City Lions, The Dictator Credits include: Utopia, Nina Yvonne has worked Adeel is most known for Forever year, making it the single in script editing, story largest producer of comedy development and his role as ‘Faisal’ in British Fiona’s most notable in the world. production for the BBC, comedy Four Lions, and television role is in Granada, Channel 4 & ITV. can currently be seen in Channels 4’s cult series CH4’s Utopia. Utopia playing the role of Jessica Hyde. Directors speaking at the Festival

Owen Teale - Actor Jonathan Newman – Amy Mathieson – Credits include: Game Of Writer & Director Director & Writer Thrones, Under Milk Wood Credits include: Swinging With Credits include: 1 Way Up: The One of Wales’s best loved The Finkels, Foster, Maria Mundi Story Of Peckham BMX and known actors, Owen and the Midas Box Amy wrote, directed and can currently be seen in Jonathan most recently Produced 1 Way Up: The the HBO mega-hit Game directed the $25m movie Story of Peckham BMX Of Thrones. Mariah Mundi and the which grew from a short Midas Box. 2D film to a 3D feature length doc.

16 17 Richard Holmes – Justin Trefgarne – Marc Munden - Producer Paul Ashton – Senior Film Producer. Writer & Director From ‘Soft Top...’ and ‘Shooting Exec | Creative England Director Credits include: Utopia, The Fish’ to ‘Eden Lake’ and Paul leads the BFI NET. Credits include: Narcopolis, Devil’s Whore ‘Resistance’ WORK Talent Centre Peter Rabbit Utopia Director Marc Prolific and tenacious in Sheffield, supporting Narcopolis writer & director was listed by Broadcast British producer who filmmakers towards their Justin was featured as one magazine as the No.1 gets films made where first feature via short film of Screen International’s director working in others fail... production and feature Stars of Tomorrow line-up television in their annual film development. in 2008. Hot 100 edition 2013.

16 17 People who know stuff speaking at the Festival Linda Aronson – Guru Philip Shelley – Channel and screenwriter Four Screenwriting Author of: The 21st-Century Course and Script editor Lucy V Hay – Script editor Karol Griffiths – Screenplay Bionic blogger, script editor and Script Editor & Linda Aronson returns the voice of new writers! Supervisor to dazzle LSF delegates Legendary for her Credits include: How I Met Your with her game changing enthusiasm and knowledge Mother, Friends explanations of how to which she shares with Karol has been Lynda construct non-linear and her community at La Plante’s script and multiple storyline films. Bang2Write. Core member copy editor for the past 3 of the LSF team. years and has Edited and Supervised many prime- time TV shows and films. Jackie Malton – Story Consultant and Writer Credits: Prime Suspect, Waking Abigail Gonda – Lee Jessup – Career The Dead Development Producer Coach Jackie is Ex Detective BBC Writersroom Credits include: Getting It Chief Inspector Met. At BBC Writersroom Abigail Write: An Insider’s Guide To A Police and the role model sources new writing talent Screenwriting Career for award winning series and nurtures writers across Lee is a career coach for Prime Suspect. a wide range of mediums; screenwriters, with an including TV, film & radio. exclusive focus on the screenwriter’s professional development. Moderators

Nick Barron – Agent Shaun Kimber – Author Karen Krizanovich – Sarah Williams – Prior to joining the The & Educator Writer, broadcaster, Screenwriter Writers’ Company, agent Credits include: Controversies: presenter & producer Former professional singer Nick Barron worked at one Henry: Portrait of a Serial Killer Credits include: The Film and drummer, Sarah now of London’s leading literary Shaun is a Snr Lecturer Programme writes for the screen and agencies, The Agency. in the Media School at Veteran LSF Karen brings her moderating skills Bournemouth University; brings her years in the to the LSF for the first time he’s also a master of horror media business to ensure this year. and extreme cinema. insightful and entertaining sessions.

Lucy Bevan – Casting Chris Jones – Filmmaker Robert Grant – Guy Cocker - Director and author Writer Broadcaster Credits include: Cinderella, An Credits include: Oscars Credits include: Writing The Broadcasting credits: BBC 5 Live, Education shortlisted Gone Fishing, the Science Fiction Film (Author) Sky News, CNN One of the UK’s most Guerilla Handbooks and a bunch Screenwriter Robert is one Writes regularly for Wired, prolific and accomplished of feature films of the core team behind T3 and Stuff, and is the Casting Directors, Lucy Chris has spent his life The London International resident video game expert has cast many of the making movies, writing Festival of Science Fiction on BBC 5 live, Sky News biggest names in some of books and helping others and Fantastic Film. and CNN. their biggest roles. make their movies.

Craig Batty – Senior Joe Mefford – Director Bob Schultz – Writer Marcus Markou – Lecturer, RMIT of Sales | Final Draft and Producer Screenwriter and University, Melbourne Joe is our man on the Credits include: Great American Director The Creative Screenwriter, ground at Final Draft. Pitchfest Credits include: Papadopoulos Movies That Move Us Bob has been the & Sons Craig has a PhD in Executive Director of the DIY filmmaker Marcus screenwriting, is a senior Great American Pitchfest wrote, directed, financed, lecturer, screenwriter, script for eight years. produced and distributed consultant and author. ‘Papadopoulos & Sons’.

18 19 People who know stuff speaking at the Festival Linda Aronson – Guru Philip Shelley – Channel and screenwriter Four Screenwriting Author of: The 21st-Century Course and Script editor Lucy V Hay – Script editor Karol Griffiths – Screenplay Bionic blogger, script editor and Script Editor & Linda Aronson returns the voice of new writers! Supervisor to dazzle LSF delegates Legendary for her Credits include: How I Met Your with her game changing enthusiasm and knowledge Mother, Friends explanations of how to which she shares with Karol has been Lynda construct non-linear and her community at La Plante’s script and multiple storyline films. Bang2Write. Core member copy editor for the past 3 of the LSF team. years and has Edited and Supervised many prime- time TV shows and films. Jackie Malton – Story Consultant and Writer Credits: Prime Suspect, Waking Abigail Gonda – Lee Jessup – Career The Dead Development Producer Coach Jackie is Ex Detective BBC Writersroom Credits include: Getting It Chief Inspector Met. At BBC Writersroom Abigail Write: An Insider’s Guide To A Police and the role model sources new writing talent Screenwriting Career for award winning series and nurtures writers across Lee is a career coach for Prime Suspect. a wide range of mediums; screenwriters, with an including TV, film & radio. exclusive focus on the screenwriter’s professional development. Moderators

18 19 • Turn up on time to your pitching session. The Great British • There will be around ten execs, producers or agents present for you to pitch. • There will be around 30 delegates pitching. PitchFest 2014 • The session lasts 90 minutes. • Pitches rotate every five minutes, so make those minutes What is it? An opportunity to meet and chat with powerful matter. agents and active producers, the people who have the power • There will be a queue for each pitchee, choose who you want to make your projects happen. to pitch and get in line. • Once you have pitched, choose who you want to pitch next As an LSF delegate, you have the opportunity to pitch your project and get in line. to agents, producers or commissioners in ONE of our 90 minute • Do the maths; you will get between 3 and 8 pitches pitching sessions. This means face-to-face time with the very depending on which queues you join. Be tactical. Most people who could launch your career, option your script or offer people get 6 or 7 pitches in. insight into how to improve your pitching techniques. • Get there early to be first in line! • After each session, if a pitchee wants to discuss your project more, it’s up to you to get contact details and follow up. WE Who You Can Expect To Be CANNOT SUPPLY CONTACT DETAILS LATER. Present At The Pitchfest?

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

There is a full list of execs, producers and agents here: http://tinyurl.com/Britpitch14

• 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 can choose JUST ONE. • The delegate-to-exec ratio will be three-to-one in every session which means that if there are more execs in a session, there wil also be more delegates pitching. Pitching Thursday Note • Friday will be intense and busy, Saturday less so, Sunday even less so. We STRONGLY recommend that you also sign up • If this is your first pitching experience, consider Saturday or for Pitching Thursday with Pilar Alessandra - get Sunday as they will be less intense and you can get tips from a whole day of pitching expertise from the top other delegates for your pitch on Friday/Saturday. guru on the planet. Ask others in the network, she is simply AWESOME! Sign up herE: http://www. londonscreenwritersfestival.com/pitching-Thursday PitchFest Room Layout

20 21 • Turn up on time to your pitching session. The Great British • There will be around ten execs, producers or agents present for you to pitch. • There will be around 30 delegates pitching. PitchFest 2014 • The session lasts 90 minutes. • Pitches rotate every five minutes, so make those minutes What is it? An opportunity to meet and chat with powerful matter. agents and active producers, the people who have the power • There will be a queue for each pitchee, choose who you want to make your projects happen. to pitch and get in line. • Once you have pitched, choose who you want to pitch next As an LSF delegate, you have the opportunity to pitch your project and get in line. to agents, producers or commissioners in ONE of our 90 minute • Do the maths; you will get between 3 and 8 pitches pitching sessions. This means face-to-face time with the very depending on which queues you join. Be tactical. Most people who could launch your career, option your script or offer people get 6 or 7 pitches in. insight into how to improve your pitching techniques. • Get there early to be first in line! • After each session, if a pitchee wants to discuss your project more, it’s up to you to get contact details and follow up. WE Who You Can Expect To Be CANNOT SUPPLY CONTACT DETAILS LATER. Present At The Pitchfest?

There is a full list of execs, producers and agents here: http://tinyurl.com/Britpitch14

20 21 Sessions That Require Advanced Work During the festival there are a number of sessions that require a bit of prep work to get the most from them. The complete schedule will be going live in Mid October: http://www.londonscreenwritersfestival.com/schedule The Pitch Factor Other Stuff You Might Want To Apply for Feel the fear and do it anyway! Pitch in front of a live audience and win CASH! Throughout the festival there are a number of focussed ‘opt-in’ sessions Put £5 in a hat and pitch your script in front of a and initiatives. You will need to apply for some and deadlines may be fast panel of industry professionals at our annual Pitch approaching, so take action now. Factor, a relaxed and friendly environment where delegates pitch their project in two minutes or less. Advanced Labs We will read your script! The Elevator Pitch All labs run for three hours on the Saturday Get one-on-one script feedback on your between 9am and 12pm. If you get into a lab, you screenplay from an experienced Script Doctor. The idea is simple… the elevator doors open, will of course miss sessions on Saturday morning, you step inside, only to find yourself alone with but most are filmed anyway and made available to Euroscript have 95 one hour slots available on a a top executive… You have 90 seconds to get watch later inside the network. If you want to pitch first come, first served basis. NOTE: You’ll need to them to accept your business card! at the PitchFest, that means you will also need to upload your script or idea immediately after booking avoid that Saturday morning slot and choose one your slot so be prepared or you will lose your slot. This micro workshop, based on the popular myth either later on Saturday, or on the Friday or Sunday. of writers meeting execs in elevators, is a great The labs DO NOT run at the same time as the We also operate a drop in desk over the festival. opportunity to try out your fabulous 90 second pitch. Actors Table Read, so no clash is possible there. So if you want to just rock up with your script, get You might get an invite to submit your work, you some feedback or ask for career advice, head over might not… but you will certainly get an experience to the Script Surgery and book yourself a slot in one you won’t forget soon! Script Chat of the drop in sessions. The session runs on a first come first served It’s one thing sitting in an audience listening to basis and you will only find out who is in the that producer, agent or writer… it’s an entirely The Actors Table Read elevator when you step inside. Feel the fear…And different thing getting real face to face time with do it anyway! them. The actors table read is an opportunity for you to get your screenplay worked on by That’s why we setup ‘Script Chats’, special, intimate professional actors and a director. This has and informal chats with speakers that take place proven to be our most successful initiative to directly after their sessions. At the end of each date with 99.8% positive feedback from the 200 session there is a half hour break where you can people involved last year. spend time chatting to speakers in depth. And you are not limited to half an hour; these sessions have If you submit a script to the process and you often run on for an hour and a half. are selected, you will attend a one hour session where you, the director and the actors will work “Keep it brief, leave time You do not need to book a place at the Script Chat on one sequence (between three and five pages) sessions, just turn up (be aware that sometimes of your script.These are closed sessions and The Early Bird Gets The Worm it can get a little busy). On the whole, even our they run throughout all three days of the festival. We are running three super early sessions at the for questions and know biggest names attract only a dozen or so people, Submissions open on 15th August 2014 and close festival. Scriptercise (a low impact workout to get 15th September 2014. Successful applicants will be you limbered up for the day ahead), 20 Minute Pitch many of whom drift away after a short time. Please Bootcamp with Bob (get you prepped for your Pitchfest who you are pitching to.” note that not all speakers will be available for Script announced on 15th October 2014. You can submit experience) and The Hour Of Power with Chris Jones Eva Yates – Senior Development Chats. Sessions that will have a ‘Script Chat’ will be your script here: (getting you into peak state for the festival). Start the marked accordingly in the schedule. day early and sleep next week! Editor | Film4 http://www.londonscreenwritersfestival.com/atr

22 23 Sessions That Require Advanced Work During the festival there are a number of sessions that require a bit of prep work to get the most from them. The complete schedule will be going live in Mid October: http://www.londonscreenwritersfestival.com/schedule The Pitch Factor Other Stuff You Might Want To Apply for Feel the fear and do it anyway! Pitch in front of a live audience and win CASH! Throughout the festival there are a number of focussed ‘opt-in’ sessions Put £5 in a hat and pitch your script in front of a and initiatives. You will need to apply for some and deadlines may be fast panel of industry professionals at our annual Pitch approaching, so take action now. Factor, a relaxed and friendly environment where delegates pitch their project in two minutes or less. Advanced Labs We will read your script! The Elevator Pitch All labs run for three hours on the Saturday Get one-on-one script feedback on your between 9am and 12pm. If you get into a lab, you screenplay from an experienced Script Doctor. The idea is simple… the elevator doors open, will of course miss sessions on Saturday morning, you step inside, only to find yourself alone with but most are filmed anyway and made available to Euroscript have 95 one hour slots available on a a top executive… You have 90 seconds to get watch later inside the network. If you want to pitch first come, first served basis. NOTE: You’ll need to them to accept your business card! at the PitchFest, that means you will also need to upload your script or idea immediately after booking avoid that Saturday morning slot and choose one your slot so be prepared or you will lose your slot. This micro workshop, based on the popular myth either later on Saturday, or on the Friday or Sunday. of writers meeting execs in elevators, is a great The labs DO NOT run at the same time as the We also operate a drop in desk over the festival. opportunity to try out your fabulous 90 second pitch. Actors Table Read, so no clash is possible there. So if you want to just rock up with your script, get You might get an invite to submit your work, you some feedback or ask for career advice, head over might not… but you will certainly get an experience to the Script Surgery and book yourself a slot in one you won’t forget soon! Script Chat of the drop in sessions. The session runs on a first come first served It’s one thing sitting in an audience listening to basis and you will only find out who is in the that producer, agent or writer… it’s an entirely The Actors Table Read elevator when you step inside. Feel the fear…And different thing getting real face to face time with do it anyway! them. The actors table read is an opportunity for you to get your screenplay worked on by That’s why we setup ‘Script Chats’, special, intimate professional actors and a director. This has and informal chats with speakers that take place proven to be our most successful initiative to directly after their sessions. At the end of each date with 99.8% positive feedback from the 200 session there is a half hour break where you can people involved last year. spend time chatting to speakers in depth. And you are not limited to half an hour; these sessions have If you submit a script to the process and you often run on for an hour and a half. are selected, you will attend a one hour session where you, the director and the actors will work “Keep it brief, leave time You do not need to book a place at the Script Chat on one sequence (between three and five pages) sessions, just turn up (be aware that sometimes of your script.These are closed sessions and The Early Bird Gets The Worm it can get a little busy). On the whole, even our they run throughout all three days of the festival. We are running three super early sessions at the for questions and know biggest names attract only a dozen or so people, Submissions open on 15th August 2014 and close festival. Scriptercise (a low impact workout to get 15th September 2014. Successful applicants will be you limbered up for the day ahead), 20 Minute Pitch many of whom drift away after a short time. Please Bootcamp with Bob (get you prepped for your Pitchfest who you are pitching to.” note that not all speakers will be available for Script announced on 15th October 2014. You can submit experience) and The Hour Of Power with Chris Jones Eva Yates – Senior Development Chats. Sessions that will have a ‘Script Chat’ will be your script here: (getting you into peak state for the festival). Start the marked accordingly in the schedule. day early and sleep next week! Editor | Film4 http://www.londonscreenwritersfestival.com/atr

22 23 Legal Surgery Script To Screen Festival Week I Do you have legal issues you need a lawyer to We will be running a number of Script To Screen n the run up to LSF we are running three help you with? All delegates at the festival have sessions. ‘one day’ events. Each event is £40 for you as the option to apply for legal advice in our legal an LSF delegate. Make a week of it! Tuesday clinic that is run by Blue Pencil Media. The idea is simple. We send you the shooting script and Wednesday are still to be confirmed, but that was used on set, you read it, then watch the Thursday is all about pitching. You can ask any question you like and their legal film on DVD, then attend the session where we team will do their best to answer your concerns. We deconstruct the journey of the project from idea, Pitching Thursday With are running an application process for the limited script, shoot, edit and final distribution. slots over the festival. Apply below. Pilar Alessandra There are some Script To Screen LIVE events Submissions open on September 1st. too, including ‘Finding Nemo’ and ‘Silence Of Pitching Thursday is back! Our fast track to a http://www.londonscreenwritersfestival.com/legal- The Lambs’ where we play the film and discuss it killer pitch pre-festival event prepares you for clinic-submisions/ with the writers on stage in real time. We suggest the weekend of pitching that lies ahead. you print the script and bring it with you for these AMAZING sessions. “Absolutely inspiring and stimulating! It helps even the shyest guy in the world to gain a startling self- All scripts can be downloaded via the Submissions, confidence in pitching. It’s also a good exercise to Booking and Info Page. test the real value of your writing” Giordano Trischitta (Pitching Thursday 2012) http://www.londonscreenwritersfestival.com/ delegates-2014/delegate-welcome/ Date: Thursday 23rd October 2014 Time: 9.30am - 5.30pm Place: Regent’s University, Regent’s Park, London NW1 4NS

GET YOUR PASS HERE: All getting too much? http://www.londonscreenwritersfestival.com/ pitching-thursday Visit out resident masseuse in the Final Draft marquee for a 15 minute revitalising head and shoulder massage.

24 25 Legal Surgery Script To Screen Festival Week I Do you have legal issues you need a lawyer to We will be running a number of Script To Screen n the run up to LSF we are running three help you with? All delegates at the festival have sessions. ‘one day’ events. Each event is £40 for you as the option to apply for legal advice in our legal an LSF delegate. Make a week of it! Tuesday clinic that is run by Blue Pencil Media. The idea is simple. We send you the shooting script and Wednesday are still to be confirmed, but that was used on set, you read it, then watch the Thursday is all about pitching. You can ask any question you like and their legal film on DVD, then attend the session where we team will do their best to answer your concerns. We deconstruct the journey of the project from idea, Pitching Thursday With are running an application process for the limited script, shoot, edit and final distribution. slots over the festival. Apply below. Pilar Alessandra There are some Script To Screen LIVE events Submissions open on September 1st. too, including ‘Finding Nemo’ and ‘Silence Of Pitching Thursday is back! Our fast track to a http://www.londonscreenwritersfestival.com/legal- The Lambs’ where we play the film and discuss it killer pitch pre-festival event prepares you for clinic-submisions/ with the writers on stage in real time. We suggest the weekend of pitching that lies ahead. you print the script and bring it with you for these AMAZING sessions. “Absolutely inspiring and stimulating! It helps even the shyest guy in the world to gain a startling self- All scripts can be downloaded via the Submissions, confidence in pitching. It’s also a good exercise to Booking and Info Page. test the real value of your writing” Giordano Trischitta (Pitching Thursday 2012) http://www.londonscreenwritersfestival.com/ delegates-2014/delegate-welcome/ Date: Thursday 23rd October 2014 Time: 9.30am - 5.30pm Place: Regent’s University, Regent’s Park, London NW1 4NS

24 25 Want a writer’s desk to Josephine Halbert, Screenwriter and Producer ‘Renting a desk in the LSF office at Ealing Studios work from at Ealing Studios? is the best decision I’ve made for my writing career. Final Note From The motivation and determination of the team will Last year we opened the Screenwriters’ Festival rub off on you and you’ll be more productive with Chris Jones office up to screenwriters who wanted to your writing than you’ve ever been before.’ work away from home, to be part of a growing Alexandra Denye, Screenwriter community of creatives and also get a great Holy cow! You can see there is a TON address. We now have four writers in permanent of stuff to do to get the most from the If you are interested, drop Judy a line at judy@ residence at the offices and have expanded to festival. It’s going to be an intense three LondonSWF.com release space for two more. days, so plan for the marathon. We are asking £200 pcm for each desk, for which Being prepared is the best way to get the you will get… most from the festival, so get working on your pitches now. • One full desk in the office, with shelf space • Fast internet access, wired and wireless At any given time there are four sessions • All power included running, along with other events like the • Use of the fridge / kitchen area PitchFest, Labs, Actors Table read etc., so • An Ealing Film Studios postal address. there is a LOT happening. We do film many • Access 24/7/365 sessions and those will be marked in the • One month notice if it doesn’t work for you or us schedule. • PLUS! Access to our sports masseuse who attends every Tuesday (£30ph) Above all, remember to relax and have fun. Remember, talent is great, but relationships We are on both the Central and Piccadilly lines and get you hired. Making friends is often more there are tons of local amenities in Ealing. One of valuable than delivering killer pitches or the core benefits to working in this environment is getting business cards from heavy hitters. that you will get to work alongside other writers and Screenwriting is a lifelong pursuit and a entrepreneurs. creative marathon, not a 100 yard dash. Here’s what some of our writers in residence Good luck and I look forward to seeing “Renting a desk in the LSF say about their experience. you there! office at Ealing Studios is ‘Renting a desk at LSF’s offices at Ealing Studios Chris Jones did wonders for my work last year and put earlier the best decision I’ve made attempts at creative endeavours at my kitchen table PS - Keep an eye out for emails that have a in the shade. It’s a friendly, supportive and a real, heading ### Important message from the living film-makers’ environment which inspires and for my writing career.” LSF Team ### the atmosphere of the historic studios adds to the magic. I look forward to being there again in 2013’ Alexandra Deyne, Screenwriter We will use the three hashtags ### to denote an important operational message, 26 so do please take the time to read them. 27 Want a writer’s desk to Josephine Halbert, Screenwriter and Producer ‘Renting a desk in the LSF office at Ealing Studios work from at Ealing Studios? is the best decision I’ve made for my writing career. Final Note From The motivation and determination of the team will Last year we opened the Screenwriters’ Festival rub off on you and you’ll be more productive with Chris Jones office up to screenwriters who wanted to your writing than you’ve ever been before.’ work away from home, to be part of a growing Alexandra Denye, Screenwriter community of creatives and also get a great Holy cow! You can see there is a TON address. We now have four writers in permanent of stuff to do to get the most from the If you are interested, drop Judy a line at judy@ residence at the offices and have expanded to festival. It’s going to be an intense three LondonSWF.com release space for two more. days, so plan for the marathon. We are asking £200 pcm for each desk, for which Being prepared is the best way to get the you will get… most from the festival, so get working on your pitches now. • One full desk in the office, with shelf space • Fast internet access, wired and wireless At any given time there are four sessions • All power included running, along with other events like the • Use of the fridge / kitchen area PitchFest, Labs, Actors Table read etc., so • An Ealing Film Studios postal address. there is a LOT happening. We do film many • Access 24/7/365 sessions and those will be marked in the • One month notice if it doesn’t work for you or us schedule. • PLUS! Access to our sports masseuse who attends every Tuesday (£30ph) Above all, remember to relax and have fun. Remember, talent is great, but relationships We are on both the Central and Piccadilly lines and get you hired. Making friends is often more there are tons of local amenities in Ealing. One of valuable than delivering killer pitches or the core benefits to working in this environment is getting business cards from heavy hitters. that you will get to work alongside other writers and Screenwriting is a lifelong pursuit and a entrepreneurs. creative marathon, not a 100 yard dash. Here’s what some of our writers in residence Good luck and I look forward to seeing “Renting a desk in the LSF say about their experience. you there! office at Ealing Studios is ‘Renting a desk at LSF’s offices at Ealing Studios Chris Jones did wonders for my work last year and put earlier the best decision I’ve made attempts at creative endeavours at my kitchen table PS - Keep an eye out for emails that have a in the shade. It’s a friendly, supportive and a real, heading ### Important message from the living film-makers’ environment which inspires and for my writing career.” LSF Team ### the atmosphere of the historic studios adds to the magic. I look forward to being there again in 2013’ Alexandra Deyne, Screenwriter We will use the three hashtags ### to denote an important operational message, 26 so do please take the time to read them. 27 writing assignments. Now, let’s rewind and imagine like to hear another logline. If they say yes, rinse and I’d said to other writers, “Oh this and that” when repeat the steps above. they’d asked what I was working on. That’s right: • If you don’t have another logline, don’t sit there that producer, who’d been going round asking who like a lemon. Ask your pitchee something. Have a had horror scripts, would never have been told by conversation. I find a great icebreaker is, “What those writers I’D told that I had one. Talk about a would you like to see more of in the slush pile?” no-brainer. Make a mental note of any recurring themes, genres, or characters etc that crop up if you ask more than Business Cards one industry pro this question.

Have some. Do not even THINK of attending And another thing lieutenant: Give one pagers to LondonSWF without any. your pitchees only if they ASK for them and never, How To Get The Most Out of The Festival by Lucy V Hay ever foist an entire script on them - or anything else Lots of people ask what should go on their business like USB sticks, CDs or photos/props and especially So, you’re coming to the LSF! Congrats. This event is put on by writers FOR writers, so we want cards. I recommend a minimal approach: Name, gifts, even if you mean well: it can get really weird. If you to be able to harness the opportunities available here and to propel your writing career forward Job Title, mobile number, website, email address. you have something you want to give someone - my for 2014. Every year delegates ask how to get the most out of LondonSWF, so we asked blogger, Social media handles/links to CVs, showreels etc Bang2writers have brought me chocolate in previous script editor and networker extraordinaire Lucy V Hay to give us her top 7 tips for grabbing LSF by are optional. I always include my Twitter. festivals for example - give it them in the refectory or the horns … strap yourself in! similar, not a pitching situation! Avoid funky fonts, overly flashy or shiny cards - conversations, here are 10 easy questions to break remember people will have trouble remembering Also, make sure you know your logline INSIDE OUT Plan Ahead the ice: who is who, so will probably want to write reminders and can deliver it CONVERSATIONALLY and deliver on the back of cards, so make sure there is a blank it to all who ask, whether you’re pitching it formally or Make sure you study the schedule. When 1. What are you working on at the moment? bit where they can do this. not. Remember, a logline is a short description of the deciding which sessions to watch ‘live’, 2. Have you travelled far / what’s your hotel like? plot of your story. Whatever you do, do NOT confuse consider what’s going on at the same time - 3. Who are you hoping to meet during the festival? DO NOT have those itty bitty cards, oversized a logline with a tagline, which is the strapline on remember, most sessions are filmed, so it’s not 4. Which sessions did you see today / which did ones or round ones or whatever. These get lost the front of a poster or DVD box, i.e. ‘In Space No ‘either/or’ and you needn’t miss out altogether. you get the most out of? far too easily. IN AN EMERGENCY: if you have no One Can Hear You Scream.’ 5. What do you want to get out of the festival? business cards or run out during the festival, whip What’s more, some of the VERY popular sessions 6. Do you have any pitching tips? out your phone and ask the person in front of you (especially those with headliners) will be packed 7. What genres are your favourites? if they are on Twitter. Follow them immediately. out; in contrast some smaller sessions may bring 8. Do you prefer movies, or television? Create a list of people you meet at LondonSWF this more value to you ‘in the flesh’ because less people 9. Who’s your favourite actor? way. Not on Twitter? SIGN UP NOW. will be there, meaning you may get some individual 10. What do you think of transmedia/ multiple attention from the speaker/s, especially via Q&As. platform writing? Pitching In addition, consider the value of networking within Dealing with number 2), your writer colleagues are small groups when others are in sessions. I’ve lost Let’s face it: for a lot of LSF delegates, it’s all your greatest allies - never forget this. Don’t ignore about the pitching. And why not: LSF opens up a count of the number of people who’ve told me, ‘If everyone in the hope of catching Joe Eszterhas at I’d gone to see X, I’d never have met Y and now plethora of potential opportunities for writers, all the bar, or harangue your colleagues into hearing in one place. What’s not to like about that! we’re working together on a project!’ More on your practice pitch either. networking, next. So, a few things to remember when pitching, The more conversations you have, the more likely especially in the pitchfest: Networking you will be remembered for the RIGHT reasons … For example: I went to a party, years and years • Make sure you’ve got your thoughts together. Lots of writers worry about approaching people ago. I was writing a horror screenplay and whilst • Sit down. Smile. Shake your pitchee’s hand if at events, networking, told my logline to about 5 people. By it’s offered. or believe erroneously that their fellow writers the end of the night, a young producer (whose path • DON’T PANIC. No one expects you to be perfect. are not useful to them. I had NOT crossed that night), came over to me • Introduce yourself. Tell them: 1) what you’re pitching and said: 2) what genre it is 3) what the audience is Dealing first with 1), remember everyone is in the 4) the logline [NOTE: If you trip over your words, same boat. Do not huddle together with the people ‘I hear you have a horror screenplay?’ take a deep breath. Start again. you know, or sit on your own. Try and mingle • Don’t babble. If the pitchee does not seem wherever possible. If you’re not sure how to start That horror feature lead to one of my first paid interested, don’t try and force it. Ask them if they’d

28 29 writing assignments. Now, let’s rewind and imagine like to hear another logline. If they say yes, rinse and I’d said to other writers, “Oh this and that” when repeat the steps above. they’d asked what I was working on. That’s right: • If you don’t have another logline, don’t sit there that producer, who’d been going round asking who like a lemon. Ask your pitchee something. Have a had horror scripts, would never have been told by conversation. I find a great icebreaker is, “What those writers I’D told that I had one. Talk about a would you like to see more of in the slush pile?” no-brainer. Make a mental note of any recurring themes, genres, or characters etc that crop up if you ask more than Business Cards one industry pro this question.

28 29 Be sociable. Live tweeting is a thing and we Taking Meetings encourage delegates to use the #LondonSWF hashtag and share their new found knowledge and Want to meet someone specific at LondonSWF? insights from the event itself in real time. But do The advice is simple: Email him/her before the make sure your mobiles are on silent so if they ring, festival and arrange it doesn’t disrupt anything. Equally, those on either IN ADVANCE. side of live tweeters? Don’t accuse them of not listening, or typing too loudly! ;) This advice applies whether it’s a fellow tweeter or an industry pro, btw. What’s the worst that Do note volunteers and LSF staff will come in and can happen? S/he says no, too busy. You’ve lost out of sessions as we try and ensure the smooth MA nothing. If that person emails back and says yes, running of the event for you behind the scenes. they’d be delighted to accept your invitation for This will be done with the least amount of disruption serial coffee, be sure to pick a SPECIFIC TIME AND possible, so please bear with us, thank you. DATE. It can be very tempting to have a few jars as dutch storytelling I’ve lost count of the number of times Bang2writers courage, but try not to get drunk at the festival. have said, ‘Let’s have coffee at LSF!’ and I’ve said You’ll probably be OK and not offend anyone, spew International Master’s Program yes, only to not see them ONCE, despite sitting in on anybody or make anyone think you’re odd, but is Start: September 2015 | Degree: Master of Arts communal areas for ages (as I always do). FYI - If it worth the risk? you don’t make an appointment with me, that’s fine Application deadline: February 28, 2015 - tweet me as @Bang2write, and I’ll try and make Remember, it’s a small pond. Try not to slag anyone ifs internationale  lmschule köln it to see you. DON’T email, DM or PM me please, off. You never know who knows who. This includes these don’t always come through in time. various TV programmes, movies, etc. It’s just not www. lmschule.de/ma-serialstorytelling worth it. No one says you have to tell lies about If you’re not on Twitter, check out the tweet board in how much you loved a piece of work if you didn’t, Herringham Hall. I and other speakers will be using but be positive or risk looking like an amateur. the #LondonSWF hashtag too and mentioning Photo: © iStockphoto.com/PinkTag where we are at various intervals, which will flash up on screen. Concluding

Decide what you want … and go get it, tiger! Getting there and back Just remember your loglines, your business cards and don’t be a div. It’s all about making Leave your hotel in plenty of time. connections and forging those all-important relationships. Good luck! Each day of the festival starts around 9am, so be sure to arrive before this; lots of LSF delegates like to have breakfast or coffee together in the refectory around 8am. Each day finishes around 7.30pm officially, though there’s opportunity to network in the bar ‘til late into the night.

Some delegates have to leave earlier than others on the Sunday (especially those with childcare duties, like me), but if you can try and stay for Chris Jones’ closing speech which is usually around 6pm and lasts half an hour, it’s a great, positive way to round off the event. And last but no means least So if there is a session you are DESPERATE to see firsthand, make sure you get there as early as possible.

30 31 Be sociable. Live tweeting is a thing and we Taking Meetings encourage delegates to use the #LondonSWF hashtag and share their new found knowledge and Want to meet someone specific at LondonSWF? insights from the event itself in real time. But do The advice is simple: Email him/her before the make sure your mobiles are on silent so if they ring, festival and arrange it doesn’t disrupt anything. Equally, those on either IN ADVANCE. side of live tweeters? Don’t accuse them of not listening, or typing too loudly! ;) This advice applies whether it’s a fellow tweeter or an industry pro, btw. What’s the worst that Do note volunteers and LSF staff will come in and can happen? S/he says no, too busy. You’ve lost out of sessions as we try and ensure the smooth MA nothing. If that person emails back and says yes, running of the event for you behind the scenes. they’d be delighted to accept your invitation for This will be done with the least amount of disruption serial coffee, be sure to pick a SPECIFIC TIME AND possible, so please bear with us, thank you. DATE. It can be very tempting to have a few jars as dutch storytelling I’ve lost count of the number of times Bang2writers courage, but try not to get drunk at the festival. have said, ‘Let’s have coffee at LSF!’ and I’ve said You’ll probably be OK and not offend anyone, spew International Master’s Program yes, only to not see them ONCE, despite sitting in on anybody or make anyone think you’re odd, but is Start: September 2015 | Degree: Master of Arts communal areas for ages (as I always do). FYI - If it worth the risk? you don’t make an appointment with me, that’s fine Application deadline: February 28, 2015 - tweet me as @Bang2write, and I’ll try and make Remember, it’s a small pond. Try not to slag anyone ifs internationale  lmschule köln it to see you. DON’T email, DM or PM me please, off. You never know who knows who. This includes these don’t always come through in time. various TV programmes, movies, etc. It’s just not www. lmschule.de/ma-serialstorytelling worth it. No one says you have to tell lies about If you’re not on Twitter, check out the tweet board in how much you loved a piece of work if you didn’t, Herringham Hall. I and other speakers will be using but be positive or risk looking like an amateur. the #LondonSWF hashtag too and mentioning Photo: © iStockphoto.com/PinkTag where we are at various intervals, which will flash up on screen. Concluding

30 31 I am wondering if your title starts with an A, B, C, or because there are so many setups required maybe a number. Or is there another title for your (number of shots) to successfully achieve many concept that would? People often rent their films of the sequences audiences expect, and also, through VOD, Netflix or Red Box these days, and because recognizable or A-list cast must generally they generally start at the first letter of the alphabet be attached (translate: bigger budget). and make their way through the movie selections, starting with the ‘A’ titles and working their way As I listen to your pitch, I am thinking about whether down (or starting at ‘Z’ and working up. Rebels, this is a genre I can raise enough money for, is it I know). Distributors also prefer titles with one or something I can attract cast to, is it unique enough two words as they tend to lend themselves more from every other horror movie out there, and will easily to foreign sales and generally translate more it sell internationally? Having a sense of what is easily into other languages. Is it a title that captures important to an exec is important because it can Pitching your screenplay and movie with Signe Olynyk the theme of your film (i.e. ‘Alive’, ‘Misery’, ‘United help the person pitching to identify the reasons why 93’)? Is it a title that is high concept, meaning you their script may not be an exact fit for a particular How to pitch your movie or screenplay, by the gal who has run Pitchfest for a decade! Like many immediately understand what the movie is going company. You might think an indie producer is writers, pitching is something that hasn’t always come easy to me. As someone who has had to to be about, just by hearing the name (i.e. ‘Bad kookoo-bananas for not optioning your big budget overcome tremendous shyness and learn how to pitch in order to get my movies made, there are a Teacher’, ‘Buried’, ‘Contagion’)? Although it isn’t studio extravaganza that is a brilliant script (it really few things I have learned that might help others to do the same. always easy to create unique titles that fulfil theme, is!), but factors such as ‘can I raise enough money distribution preferences, and still capture a strong at this point in my career’ are massive factors that Pitching is a necessary evil. You must pitch if you back to what needs to be conveyed. sense of your story, you increase the chance of are often beyond your control. My hope is that by want your project to be produced. The only sure- success for your screenplay if you do. sharing some of this information, you will better fire way to make sure your script never gets made One of the biggest mistakes writers make when understand why an exec can’t always come on is to never tell anyone about it. But there is hope they are pitching for the first time is that they tell too board your project - even if the script is outstanding. - you are probably much better at pitching than you much information. Shot by shot, scene by scene - Genre It is often a matter of just finding the right match, think. Never pitched before? Think again. When you this is what causes grey hair to grow, and executive and sometimes, well, that just requires luck and Identify the genre of your film. Is it a comedy? go to a job interview, you are pitching. When you eyelids to droop. But how do you know what is too perseverance. Horror? Rom-Com or Historical Drama? convince your friends to see the latest Bollywood much? Too little? But, I digress. I can write more about some of these film when everyone wants to see ‘Avengers’, you issues another time. Let’s get back to the bones of An Executive wants to know what genre you are are pitching. When your kids plead for another hour As my producing partner, the fabulous Mr. Bob pitching. past bedtime to play X-Box… Well, okay. They are Schultz sometimes laments, ‘If I could tell it to you pitching because it establishes the mood for the pitching you. But you get my point - most of us pitch in 90 seconds, why would I have told it to you in rest of the pitch, and sets up what they can expect every single day without realizing it. 90 pages’? Bob is referring to a logline, which is of your story. If you launch right into your pitch Protagonist often described as the one sentence, ‘TV guide’ about a woman giving birth to a zombie baby, we A successful pitch must be much more than simply version of a story. A pitch does not need to be need to know whether that script is a comedy or a Now that we know the title and genre, we want convincing or selling someone on something. The short, but it does need to be succinct. You need horror so we know how to react as you pitch it. If to know ‘who is the main character’? best pitches are conversational - as if you are to be extremely selective about the finding the true it is a true life story about your zombie baby, I’m so telling your friends about a great movie you just heart of your story, and it is much more difficult to sorry to hear it. Are the rights available? Through whose eyes are we experiencing this saw. Conversational means there is an exchange do than one might think. It means stripping away story? It needs to be someone who we can relate by both parties - sometimes the person you are all the hard work you’ve put into your script, and Here’s my producer brain again, mulling over what to, and we need to care enough about them and pitching has questions, or they are engrossed with reduce it down to the bare bones in order to pitch it I am listening for and thinking about as you pitch. their goal to want to go on this 90-ish minute your pitch and respond with their body language. effectively. We don’t need to know your character’s The most successful domestic films are not always journey with them. As an audience, we want to If you are doing it right, they are engaged and backstory. We don’t need to know who you imagine the most successful internationally. For the terms experience their growth, and see them evolve. listening to every exciting word you are sharing, and casting as the lead. All we need are the bones. of this article, ‘domestic’ refers to North America, Our favourite movies start with a character that the communication between you and the person and ‘foreign’ refers to everywhere else. Comedies has a certain behaviour or world point of view, and you are pitching is filled with give and take. You give And what are the bones? Let’s plot out the skeleton generally need to have A-list talent to perform well through the challenges they face in pursuit of their by telling about your character’s overall goal, they of your pitch. at the box office, and it is difficult for a company goal, they evolve to become a different person. By take by leaning in. You tell them how your character to take a chance with a new writer on a multi- the end of the story, your protagonist’s behaviour overcomes their obstacles. They gasp. They ask a million dollar movie. Comedy (including Romantic and world point of view has changed. For better question. You give an answer. A great pitch is like a Title Comedies & what I call ‘Jerk Comedies’) is also or worse. Experiencing that character growth dance - but you are the one leading and reacting as very subjective, and what is funny in North America allows audiences to escape and live vicariously your partner responds to you. Give and take, back First, tell me the title of your script. Easy may be offensive, or simply not translate well into through the characters. That ability to escape and and forth. Actually, that sounds like something else. enough, right? Well, not so fast. Here’s what other cultures or languages internationally. Action be enlightened to a new character perspective is But you get my point. You are hosting the meeting, I’m thinking about as a producer when you films are still the most successful genres at the largely how movies enrich all our lives, and why we and as such, you control the information that is tell me your title and begin the bones of your box office, domestically and abroad. However, this go to movies in the first place. shared. As the conversation continues, you lead it pitch… genre also tends to be more expensive to produce,

32 33 I am wondering if your title starts with an A, B, C, or because there are so many setups required maybe a number. Or is there another title for your (number of shots) to successfully achieve many concept that would? People often rent their films of the sequences audiences expect, and also, through VOD, Netflix or Red Box these days, and because recognizable or A-list cast must generally they generally start at the first letter of the alphabet be attached (translate: bigger budget). and make their way through the movie selections, starting with the ‘A’ titles and working their way As I listen to your pitch, I am thinking about whether down (or starting at ‘Z’ and working up. Rebels, this is a genre I can raise enough money for, is it I know). Distributors also prefer titles with one or something I can attract cast to, is it unique enough two words as they tend to lend themselves more from every other horror movie out there, and will easily to foreign sales and generally translate more it sell internationally? Having a sense of what is easily into other languages. Is it a title that captures important to an exec is important because it can Pitching your screenplay and movie with Signe Olynyk the theme of your film (i.e. ‘Alive’, ‘Misery’, ‘United help the person pitching to identify the reasons why 93’)? Is it a title that is high concept, meaning you their script may not be an exact fit for a particular How to pitch your movie or screenplay, by the gal who has run Pitchfest for a decade! Like many immediately understand what the movie is going company. You might think an indie producer is writers, pitching is something that hasn’t always come easy to me. As someone who has had to to be about, just by hearing the name (i.e. ‘Bad kookoo-bananas for not optioning your big budget overcome tremendous shyness and learn how to pitch in order to get my movies made, there are a Teacher’, ‘Buried’, ‘Contagion’)? Although it isn’t studio extravaganza that is a brilliant script (it really few things I have learned that might help others to do the same. always easy to create unique titles that fulfil theme, is!), but factors such as ‘can I raise enough money distribution preferences, and still capture a strong at this point in my career’ are massive factors that Pitching is a necessary evil. You must pitch if you back to what needs to be conveyed. sense of your story, you increase the chance of are often beyond your control. My hope is that by want your project to be produced. The only sure- success for your screenplay if you do. sharing some of this information, you will better fire way to make sure your script never gets made One of the biggest mistakes writers make when understand why an exec can’t always come on is to never tell anyone about it. But there is hope they are pitching for the first time is that they tell too board your project - even if the script is outstanding. - you are probably much better at pitching than you much information. Shot by shot, scene by scene - Genre It is often a matter of just finding the right match, think. Never pitched before? Think again. When you this is what causes grey hair to grow, and executive and sometimes, well, that just requires luck and Identify the genre of your film. Is it a comedy? go to a job interview, you are pitching. When you eyelids to droop. But how do you know what is too perseverance. Horror? Rom-Com or Historical Drama? convince your friends to see the latest Bollywood much? Too little? But, I digress. I can write more about some of these film when everyone wants to see ‘Avengers’, you issues another time. Let’s get back to the bones of An Executive wants to know what genre you are are pitching. When your kids plead for another hour As my producing partner, the fabulous Mr. Bob pitching. past bedtime to play X-Box… Well, okay. They are Schultz sometimes laments, ‘If I could tell it to you pitching because it establishes the mood for the pitching you. But you get my point - most of us pitch in 90 seconds, why would I have told it to you in rest of the pitch, and sets up what they can expect every single day without realizing it. 90 pages’? Bob is referring to a logline, which is of your story. If you launch right into your pitch Protagonist often described as the one sentence, ‘TV guide’ about a woman giving birth to a zombie baby, we A successful pitch must be much more than simply version of a story. A pitch does not need to be need to know whether that script is a comedy or a Now that we know the title and genre, we want convincing or selling someone on something. The short, but it does need to be succinct. You need horror so we know how to react as you pitch it. If to know ‘who is the main character’? best pitches are conversational - as if you are to be extremely selective about the finding the true it is a true life story about your zombie baby, I’m so telling your friends about a great movie you just heart of your story, and it is much more difficult to sorry to hear it. Are the rights available? Through whose eyes are we experiencing this saw. Conversational means there is an exchange do than one might think. It means stripping away story? It needs to be someone who we can relate by both parties - sometimes the person you are all the hard work you’ve put into your script, and Here’s my producer brain again, mulling over what to, and we need to care enough about them and pitching has questions, or they are engrossed with reduce it down to the bare bones in order to pitch it I am listening for and thinking about as you pitch. their goal to want to go on this 90-ish minute your pitch and respond with their body language. effectively. We don’t need to know your character’s The most successful domestic films are not always journey with them. As an audience, we want to If you are doing it right, they are engaged and backstory. We don’t need to know who you imagine the most successful internationally. For the terms experience their growth, and see them evolve. listening to every exciting word you are sharing, and casting as the lead. All we need are the bones. of this article, ‘domestic’ refers to North America, Our favourite movies start with a character that the communication between you and the person and ‘foreign’ refers to everywhere else. Comedies has a certain behaviour or world point of view, and you are pitching is filled with give and take. You give And what are the bones? Let’s plot out the skeleton generally need to have A-list talent to perform well through the challenges they face in pursuit of their by telling about your character’s overall goal, they of your pitch. at the box office, and it is difficult for a company goal, they evolve to become a different person. By take by leaning in. You tell them how your character to take a chance with a new writer on a multi- the end of the story, your protagonist’s behaviour overcomes their obstacles. They gasp. They ask a million dollar movie. Comedy (including Romantic and world point of view has changed. For better question. You give an answer. A great pitch is like a Title Comedies & what I call ‘Jerk Comedies’) is also or worse. Experiencing that character growth dance - but you are the one leading and reacting as very subjective, and what is funny in North America allows audiences to escape and live vicariously your partner responds to you. Give and take, back First, tell me the title of your script. Easy may be offensive, or simply not translate well into through the characters. That ability to escape and and forth. Actually, that sounds like something else. enough, right? Well, not so fast. Here’s what other cultures or languages internationally. Action be enlightened to a new character perspective is But you get my point. You are hosting the meeting, I’m thinking about as a producer when you films are still the most successful genres at the largely how movies enrich all our lives, and why we and as such, you control the information that is tell me your title and begin the bones of your box office, domestically and abroad. However, this go to movies in the first place. shared. As the conversation continues, you lead it pitch… genre also tends to be more expensive to produce,

32 33 work with on all my projects is Mr. Robert Southhill time. But before I sign off, I want you to take a hard Goal ([email protected]). He often calls these Pitching in General look at yourself. You wrote this brilliant script. You’ve types of scripts a BOSH. Bunch Of ‘Stuff’ Happens. worked hard to master your craft. And now you’re Once I know the title of your screenplay, the It’s when one thing after another simply happens to Like a great movie trailer, the pitch should have ready to bring it into the world. Be proud of that. genre, and who the protagonist is, I will want to your protagonist, instead of the character striving a beginning, middle, and an end -without giving And confident. You have accomplished something know what that character wants. towards a specific goal, struggling, and overcoming everything away. In the beginning, you tell who it is amazing, so remember that with every pitch meeting the obstacles that are in the way. Your goal has to about and what they want. The middle of your pitch is you go into. Now, you just need practice. What physical, tangible goal are they pursuing? be a real, physical, tangible goal that has such dire where you tell what gets in the way of your protagonist Save the planet from the speeding meteorite? Get consequences for your character that we must root reaching that goal, and what they did to overcome Signe Olynyk the characters off the bus before it explodes? Find for them, and care enough to go on this journey it. The ending is where you tell the lesson learned, www.Pitchfest.com the groom before the wedding? Come up with with them. By making the stakes high enough for not just the lesson for the character - but the lesson one more cliché goal before I finish this article? the character, you raise the dramatic impact of each that your audience walks away with, enriched for the Although an emotional goal can be a consequence obstacle. experience of having seen your film. “The core. The bones. of this pursuit, the goal must be an actual, physical Every pitch is a little bit different. All pitches need one. The goal for your main character is not to ‘fall Making sure that the obstacles in your character’s to have to have the bones that I already described, The skeleton. It all means in love’, but it might be to ‘save the swamp’. Falling way are increasingly serious is a way to deepen but they also need to be tailored to whoever you are in love is often the emotional consequence. our commitment to the character and root for their pitching. If you are pitching an actor, you want to the same thing. You Sigh. We should all save more swamps. Plus, success. If your character’s goal is to drive from spend more time focusing on the character. What lizards are awesome. Canada to Los Angeles, who cares? But if 2,500 their character arc is. How they change through the need to know who your angry writers will tie her to a stake and roast her at course of your story. You will want to spend extra Obstacles a BBQ if she doesn’t get there and make sure she time focusing on the juicy bits that make the role protagonist is.” puts on a great conference for them, then the stakes a character an actor would want to play. If you are are significantly higher. What are the obstacles in the pitching an agent, you may also want to pitch yourself Okay, now that we know the character’s goal, and your ability to take on writing assignments, to we need to know what the increasingly difficult way? 2,700 miles? Construction? Hordes of cattle all over the highway in Montana? Not good enough. The write fast, and the connections you already have. If obstacles are that stand in the way of him, her, or you have optioned a property and are pitching an it reaching that goal. stakes need to be serious enough that it becomes a ‘do or die’ effort. Trust me, it is. investor or studio exec, you are going to expand your pitch to address casting and foreign sales, and budget The best screenplays always involve a strong details. You’d want to get into who your key crew opponent, whether that nemesis is another character “By making the stakes high are, what’s your schedule, your budget, and financial or monster, a force of nature, or an establishment. plan. You have to know who you are pitching so that The shark in ‘Jaws’. Jigsaw in the ‘Saw’ movies. enough for the character, you can adjust your pitch to reflect what they are Number Six in the ‘Battlestar Galactica’ TV series. looking for, and target those needs in your pitch. All The demon in the ‘Paranormal Activity’ movies. Darth you raise the dramatic pitches should have the bones of your story, and be Vader is all of these things - a character, a monster, a expanded upon to be able to address the other needs force of nature, and he represents an establishment. of whoever you are pitching. Villains with their own goals and obstacles that conflict impact of each obstacle.” with the goals and obstacles of your protagonist are The core. The bones. The skeleton. It all means the often more relatable and interesting than characters same thing. You need to know who your protagonist of extreme degrees. The moustache twirling villains is. What they want. What obstacles are in the way of and wicked witches of the past are made more that goal, and what is the lesson learned. human by putting their needs in direct conflict with your hero character. One of my favourite writing If you are still nervous about pitching and need exercises is to reverse the roles of my main character more advice, the two best pitch coaches I know are and their antagonist, and tell the story from the other Bob Schultz ([email protected] - Bob runs the character’s point of view. If you’ve seen the Broadway Great American PitchFest with me, and is also my version of ‘Wicked’, you will know how successful that producing partner) and the awesome Pilar Alessandra exercise can be. To me, ‘shades of grey’ are always from www.onthepage.tv. Pilar is a pitch and script more interesting than characters who are pure evil, or consultant, and an exceptional teacher who leads pure goodness. Although I enjoy hearing Snow White ‘Pitching Thursday’ at the LSF. She has one of those sing. ‘fill in the blank’ type of templates that essentially does the work for you. Writers simply fill in the blanks and Making sure the stakes your character faces are immediately start pitching. It’s that easy. serious enough is often where many screenplays (and pitches) fail. A brilliant script consultant I like to Pitching can be terrifying, especially if it is your first

34 35 work with on all my projects is Mr. Robert Southhill time. But before I sign off, I want you to take a hard Goal ([email protected]). He often calls these Pitching in General look at yourself. You wrote this brilliant script. You’ve types of scripts a BOSH. Bunch Of ‘Stuff’ Happens. worked hard to master your craft. And now you’re Once I know the title of your screenplay, the It’s when one thing after another simply happens to Like a great movie trailer, the pitch should have ready to bring it into the world. Be proud of that. genre, and who the protagonist is, I will want to your protagonist, instead of the character striving a beginning, middle, and an end -without giving And confident. You have accomplished something know what that character wants. towards a specific goal, struggling, and overcoming everything away. In the beginning, you tell who it is amazing, so remember that with every pitch meeting the obstacles that are in the way. Your goal has to about and what they want. The middle of your pitch is you go into. Now, you just need practice. What physical, tangible goal are they pursuing? be a real, physical, tangible goal that has such dire where you tell what gets in the way of your protagonist Save the planet from the speeding meteorite? Get consequences for your character that we must root reaching that goal, and what they did to overcome Signe Olynyk the characters off the bus before it explodes? Find for them, and care enough to go on this journey it. The ending is where you tell the lesson learned, www.Pitchfest.com the groom before the wedding? Come up with with them. By making the stakes high enough for not just the lesson for the character - but the lesson one more cliché goal before I finish this article? the character, you raise the dramatic impact of each that your audience walks away with, enriched for the Although an emotional goal can be a consequence obstacle. experience of having seen your film. “The core. The bones. of this pursuit, the goal must be an actual, physical Every pitch is a little bit different. All pitches need one. The goal for your main character is not to ‘fall Making sure that the obstacles in your character’s to have to have the bones that I already described, The skeleton. It all means in love’, but it might be to ‘save the swamp’. Falling way are increasingly serious is a way to deepen but they also need to be tailored to whoever you are in love is often the emotional consequence. our commitment to the character and root for their pitching. If you are pitching an actor, you want to the same thing. You Sigh. We should all save more swamps. Plus, success. If your character’s goal is to drive from spend more time focusing on the character. What lizards are awesome. Canada to Los Angeles, who cares? But if 2,500 their character arc is. How they change through the need to know who your angry writers will tie her to a stake and roast her at course of your story. You will want to spend extra Obstacles a BBQ if she doesn’t get there and make sure she time focusing on the juicy bits that make the role protagonist is.” puts on a great conference for them, then the stakes a character an actor would want to play. If you are are significantly higher. What are the obstacles in the pitching an agent, you may also want to pitch yourself Okay, now that we know the character’s goal, and your ability to take on writing assignments, to we need to know what the increasingly difficult way? 2,700 miles? Construction? Hordes of cattle all over the highway in Montana? Not good enough. The write fast, and the connections you already have. If obstacles are that stand in the way of him, her, or you have optioned a property and are pitching an it reaching that goal. stakes need to be serious enough that it becomes a ‘do or die’ effort. Trust me, it is. investor or studio exec, you are going to expand your pitch to address casting and foreign sales, and budget The best screenplays always involve a strong details. You’d want to get into who your key crew opponent, whether that nemesis is another character “By making the stakes high are, what’s your schedule, your budget, and financial or monster, a force of nature, or an establishment. plan. You have to know who you are pitching so that The shark in ‘Jaws’. Jigsaw in the ‘Saw’ movies. enough for the character, you can adjust your pitch to reflect what they are Number Six in the ‘Battlestar Galactica’ TV series. looking for, and target those needs in your pitch. All The demon in the ‘Paranormal Activity’ movies. Darth you raise the dramatic pitches should have the bones of your story, and be Vader is all of these things - a character, a monster, a expanded upon to be able to address the other needs force of nature, and he represents an establishment. of whoever you are pitching. Villains with their own goals and obstacles that conflict impact of each obstacle.” with the goals and obstacles of your protagonist are The core. The bones. The skeleton. It all means the often more relatable and interesting than characters same thing. You need to know who your protagonist of extreme degrees. The moustache twirling villains is. What they want. What obstacles are in the way of and wicked witches of the past are made more that goal, and what is the lesson learned. human by putting their needs in direct conflict with your hero character. One of my favourite writing If you are still nervous about pitching and need exercises is to reverse the roles of my main character more advice, the two best pitch coaches I know are and their antagonist, and tell the story from the other Bob Schultz ([email protected] - Bob runs the character’s point of view. If you’ve seen the Broadway Great American PitchFest with me, and is also my version of ‘Wicked’, you will know how successful that producing partner) and the awesome Pilar Alessandra exercise can be. To me, ‘shades of grey’ are always from www.onthepage.tv. Pilar is a pitch and script more interesting than characters who are pure evil, or consultant, and an exceptional teacher who leads pure goodness. Although I enjoy hearing Snow White ‘Pitching Thursday’ at the LSF. She has one of those sing. ‘fill in the blank’ type of templates that essentially does the work for you. Writers simply fill in the blanks and Making sure the stakes your character faces are immediately start pitching. It’s that easy. serious enough is often where many screenplays (and pitches) fail. A brilliant script consultant I like to Pitching can be terrifying, especially if it is your first

34 35 Don’t Stay In One Place and you have a huge amount to offer. Don’t sell yourself short by pretending to be someone you are Every conversation has a natural life - when that’s not. over, move on. Don’t linger awkwardly. It’s totally fine to say ‘It was great to meet, and there are so Give and take cards (and follow up) many others I want to meet here too, so I am going say goodbye for now…’ Shake hands, smile and Take business cards and exchange them - but move on. And if someone says that to you, don’t get understand that most will end up in the bin. You upset. It’s part of the unwritten agreement we make don’t want to leave with 300 business cards from with each other at these professional events and people you met, you want to leave empowered with parties. FIVE new and meaningful relationships. Look people in the eye and shake hands A Screenwriters Guide confidently Your need to be ‘right’… Understand What People Want (and that’s you too) to Networking by Chris Jones When approaching, make eye contact, smile, The need to be ‘right’ is toxic - we can all see it introduce yourself, shake hands (not limply) and in others, but so rarely in ourselves. Being ‘right’ We are all human animals and basically want the Talent is great, but relationships get you hired. speak up. When someone shakes hands with that will shut down conversations, even when you are same thing. When we enter a new relationship ‘limp’ handshake, you are sending a very direct in fact, ‘right’! So give it up and choose to listen (networking) we will ask… What can this person do It’s not about collecting business cards and message - I don’t want to touch you. If you mumble instead. I found out a long time ago that ‘right’ and for me? Can they entertain me? Can they help me convincing yourself that those cards equal a when talking, you are simply projecting: What I am ‘wrong’ are opinions and not facts. get done what I want to get done? Do I feel at home relationship - it’s about REALLY connecting with saying is not worth listening to. There are plenty of and attracted to them? Can I get some kind of other people in a meaningful way. That’s why other people in the room, why would anyone waste Compliment honestly, but don’t go overboard intimacy? It’s what they are looking for. It’s what you we network. To make new friends within our time with someone who won’t shake your hand are looking for too. Don’t take it personally if people professional sphere. or speak up? Get out of your comfort zone and Everyone likes to be complimented, so offer don’t respond to your overtures - not everyone likes COMMUNICATE with confidence and clarity. compliments. But don’t go overboard, you will the same kind of music, Star Trek quotes, arthouse So the real secret to networking is to just hang out come off as a bit desperate. Equally, don’t be movies, strong cheese etc… Networking is not right like you would with friends, but move around the Ask a question to start the relationship disingenuous; we can all spot a bullshitter. And no- or wrong, it’s just about people connecting. Often group(s) more systematically. You are looking for one wants to be friends with a desperate bullshitter. we are a tad insecure and a little tipsy too. If you people that you ‘chime’ with, people with shared An easy way in is to ask a question… ‘How are don’t find what you are looking for, smile and move values and vision, people who YOU can help, and you feeling?’, ‘Did you see that last session?’, Be with that person on with effortless grace. There are plenty more lastly, people who can help you too. ‘How did you get on in your pitches?’ Keep people to meet. opening questions lighter, more personal and When you are with a person, BE with that person. The best thing about networking at the London conversational. There will be time after you have There is a temptation to look over shoulders, eyeing Don’t take it too seriously Screenwriters’ Festival is that you are already made friends to ask about how to send them a up the next person to network with, but try to avoid amongst friends. So don’t be shy. script. it. Listen, connect and communicate. Ninety percent Smile and make friends. It’s not a competition. of people cannot or do not do this. Successful and powerful networking is just about Networking Events Ask questions and listen chatting, meeting new friends and having fun. Be a facilitator If someone is rude, they are probably insecure, These events work because we all agree to get Don’t launch into how cool you are and how bluffing it, tired and just generally just being human. together in one space at the same time with an amazing your script is. Doing this could just get Think like a producer and introduce others who you Let it go. implicit agreement that it’s OK to just walk up you into the competitive cycle of mine is better than know could benefit from the relationship. Facilitating and start talking. Booze, a darkened room and a yours, and that’s NOT a good way to make powerful success in others will always pay you dividends Finally, remember we are all in this game bit of music makes it easier. new friends and allies. Ask questions. Interesting in the long run. It also helps you move around the together. questions. Even personal questions. Be genuine in room with great agility. Don’t be afraid your conversation and listen. You’d be amazed how The industry grows the more we collaborate and much more likeable most of us become if we just Be credible help each other. Offer help and you will receive it. The most important thing to remember is that the keep our mouths shut for more of the time. When Be humble and you will be rewarded with genuine person you are approaching is as nervous as you. you have something genuinely relevant, illuminating You may not know everything about the business, relationships. Be bold and courageous and you will They have insecurities too. In fact, the real irony is or valuable, of course get involved. Remember, and that’s OK. Being credible is about learning and find success. that they will probably be thankful that you came to experienced people talk about the industry all the applying that knowledge. It’s about humility and them, and secretly wish that they were as good at time and most of us can’t compete on that level, courage. It’s not just about connections and credits. networking as you! Yes I get it, you don’t want to we just don’t have the knowledge, peer group and And we all have something to offer. Bottom line, do do it. None of us really enjoy it. But films don’t get relationships. But talking about ‘the kids’, assuming not bullshit the bullshitters. Anyone with experience made in a vacuum and we all need friends. So take you both have children, IS somewhere that you will has heard every line before, so don’t try and appear the plunge. You will be pleasantly surprised. both share expertise, opinion and rapport. more important than you really are. You are you,

36 37 Don’t Stay In One Place and you have a huge amount to offer. Don’t sell yourself short by pretending to be someone you are Every conversation has a natural life - when that’s not. over, move on. Don’t linger awkwardly. It’s totally fine to say ‘It was great to meet, and there are so Give and take cards (and follow up) many others I want to meet here too, so I am going say goodbye for now…’ Shake hands, smile and Take business cards and exchange them - but move on. And if someone says that to you, don’t get understand that most will end up in the bin. You upset. It’s part of the unwritten agreement we make don’t want to leave with 300 business cards from with each other at these professional events and people you met, you want to leave empowered with parties. FIVE new and meaningful relationships. Look people in the eye and shake hands A Screenwriters Guide confidently Your need to be ‘right’… Understand What People Want (and that’s you too) to Networking by Chris Jones When approaching, make eye contact, smile, The need to be ‘right’ is toxic - we can all see it introduce yourself, shake hands (not limply) and in others, but so rarely in ourselves. Being ‘right’ We are all human animals and basically want the Talent is great, but relationships get you hired. speak up. When someone shakes hands with that will shut down conversations, even when you are same thing. When we enter a new relationship ‘limp’ handshake, you are sending a very direct in fact, ‘right’! So give it up and choose to listen (networking) we will ask… What can this person do It’s not about collecting business cards and message - I don’t want to touch you. If you mumble instead. I found out a long time ago that ‘right’ and for me? Can they entertain me? Can they help me convincing yourself that those cards equal a when talking, you are simply projecting: What I am ‘wrong’ are opinions and not facts. get done what I want to get done? Do I feel at home relationship - it’s about REALLY connecting with saying is not worth listening to. There are plenty of and attracted to them? Can I get some kind of other people in a meaningful way. That’s why other people in the room, why would anyone waste Compliment honestly, but don’t go overboard intimacy? It’s what they are looking for. It’s what you we network. To make new friends within our time with someone who won’t shake your hand are looking for too. Don’t take it personally if people professional sphere. or speak up? Get out of your comfort zone and Everyone likes to be complimented, so offer don’t respond to your overtures - not everyone likes COMMUNICATE with confidence and clarity. compliments. But don’t go overboard, you will the same kind of music, Star Trek quotes, arthouse So the real secret to networking is to just hang out come off as a bit desperate. Equally, don’t be movies, strong cheese etc… Networking is not right like you would with friends, but move around the Ask a question to start the relationship disingenuous; we can all spot a bullshitter. And no- or wrong, it’s just about people connecting. Often group(s) more systematically. You are looking for one wants to be friends with a desperate bullshitter. we are a tad insecure and a little tipsy too. If you people that you ‘chime’ with, people with shared An easy way in is to ask a question… ‘How are don’t find what you are looking for, smile and move values and vision, people who YOU can help, and you feeling?’, ‘Did you see that last session?’, Be with that person on with effortless grace. There are plenty more lastly, people who can help you too. ‘How did you get on in your pitches?’ Keep people to meet. opening questions lighter, more personal and When you are with a person, BE with that person. The best thing about networking at the London conversational. There will be time after you have There is a temptation to look over shoulders, eyeing Don’t take it too seriously Screenwriters’ Festival is that you are already made friends to ask about how to send them a up the next person to network with, but try to avoid amongst friends. So don’t be shy. script. it. Listen, connect and communicate. Ninety percent Smile and make friends. It’s not a competition. of people cannot or do not do this. Successful and powerful networking is just about Networking Events Ask questions and listen chatting, meeting new friends and having fun. Be a facilitator If someone is rude, they are probably insecure, These events work because we all agree to get Don’t launch into how cool you are and how bluffing it, tired and just generally just being human. together in one space at the same time with an amazing your script is. Doing this could just get Think like a producer and introduce others who you Let it go. implicit agreement that it’s OK to just walk up you into the competitive cycle of mine is better than know could benefit from the relationship. Facilitating and start talking. Booze, a darkened room and a yours, and that’s NOT a good way to make powerful success in others will always pay you dividends Finally, remember we are all in this game bit of music makes it easier. new friends and allies. Ask questions. Interesting in the long run. It also helps you move around the together. questions. Even personal questions. Be genuine in room with great agility. Don’t be afraid your conversation and listen. You’d be amazed how The industry grows the more we collaborate and much more likeable most of us become if we just Be credible help each other. Offer help and you will receive it. The most important thing to remember is that the keep our mouths shut for more of the time. When Be humble and you will be rewarded with genuine person you are approaching is as nervous as you. you have something genuinely relevant, illuminating You may not know everything about the business, relationships. Be bold and courageous and you will They have insecurities too. In fact, the real irony is or valuable, of course get involved. Remember, and that’s OK. Being credible is about learning and find success. that they will probably be thankful that you came to experienced people talk about the industry all the applying that knowledge. It’s about humility and them, and secretly wish that they were as good at time and most of us can’t compete on that level, courage. It’s not just about connections and credits. networking as you! Yes I get it, you don’t want to we just don’t have the knowledge, peer group and And we all have something to offer. Bottom line, do do it. None of us really enjoy it. But films don’t get relationships. But talking about ‘the kids’, assuming not bullshit the bullshitters. Anyone with experience made in a vacuum and we all need friends. So take you both have children, IS somewhere that you will has heard every line before, so don’t try and appear the plunge. You will be pleasantly surprised. both share expertise, opinion and rapport. more important than you really are. You are you,

36 37 backwards and in high heels. A woman hero in a melt lead – was the big moment that called upon Meet Ted Tally, Oscar winning crime thriller has to be just as tough, smart, brave Super Hero Training Day everyone present to step up and raise their game. and resourceful as any male, while also fighting off And I am delighted to report that EVERYONE Adrian, a new LSF Team recruit looked at me Screenwriter for his adaptation condescension, sexism, and cultural/professional walked the fire. Even Adrian. with concern… ‘When you said we will firewalk I stereotypes. And the greater the challenges your thought you were speaking metaphorically…’ of ‘Silence Of The Lambs’. hero has to overcome, the better the character. We walked in strangers. We left as a team. That’s why I love female leads. LSF - What are the major challenges in adapting a The penny dropped as a LARGE crate of shattered book like ‘Silence Of The Lambs’ into a screenplay? glass spilled onto floor. Before we firewalked, we LSF - What mistakes do new screenwriters make? “Some of us came as were going to ‘glasswalk’!!! The major challenges were compression - it’s Ted - Ted - New screenwriters tend to overwrite, saying groups of friends, some He looked at me in sheer terror – should he stay or a long, densely written book with far too many good too much while implying too little, and try to “direct” should he run? scenes to include in a screenplay - and multiple the actors through elaborate stage directions and came alone knowing POVs, which I felt would dilute the movie’s power. I parentheticals. They also often lack a clear sense Welcome to Superhero Training Day for the LSF decided early on to focus on Clarice. of structure, the craft of building individual scenes, Volunteers. nobody in the country.. All acts and overall narratives in an effective way. LSF - Why do you think so many of us respond to stories that explore the dark side of human nature? Each year at the festival we are supported by an left knowing we could rely LSF - What advice would you offer a new extraordinary group of people, the volunteers. screenwriter? Ted - I think in part of our brains we’re all still on each other.” cavemen, with an instinctive fight or flight response. This year we wanted to give something back to the Ted - Follow your dream! We only get one life. But original volunteers, to acknowledge their excellence And the tidy, logical, satisfyingly concluded scares there are no shortcuts, and no guarantees. The Leilani Holmes over the years, and to elevate their possibilities we get from invented stories make a welcome relief pleasure of creating screen stories has to always be through a series of workshops and seminars, filled from the sloppier and darker terrors of real life. on some level its own reward. with lots of shouting, laughing, dancing and hugging How do you tackle dark subjects without and occasional tears. LSF - LSF - If you had to summarise the art and craft of descending into what is not referred to as ‘torture screenwriting into one sentence, what would that And for the new recruits who made up most of the porn’ or simply violence for violence sake? be? room, this was an initiation. Gratuitous violence coarsens storytelling and Ted - Ted - Show us, don’t tell us. desensitizes the audience, while turning off a large As a group we shared passions and fears and got portion of it. We need as writers to be hyper-aware to know each other very deeply. The courage and of this and not fall for cheap thrills. Less is more, vulnerability was profoundly moving and created and implication is better than direct visuals. an atmosphere where we could bond not just as a team, but as people too. It was a privilege to lead LSF - Clarice Starling is an iconic female character, the day, in of itself an opportunity for me to face my and I believe we are seeing the rise of the feminine own fears and raise MY game too. voice in all artforms. What do you find compelling about female characters and how better can we I believe that no matter how awesome any one of write them? us already is, there is always room for growth and improvement. Our aim as an organisation is to take Ted - Ginger Rogers, it has been famously excellence to even greater heights. said, had to do everything Fred Astaire did, but Walking across 750 degree coals – hot enough to

38 39 backwards and in high heels. A woman hero in a melt lead – was the big moment that called upon Meet Ted Tally, Oscar winning crime thriller has to be just as tough, smart, brave Super Hero Training Day everyone present to step up and raise their game. and resourceful as any male, while also fighting off And I am delighted to report that EVERYONE Adrian, a new LSF Team recruit looked at me Screenwriter for his adaptation condescension, sexism, and cultural/professional walked the fire. Even Adrian. with concern… ‘When you said we will firewalk I stereotypes. And the greater the challenges your thought you were speaking metaphorically…’ of ‘Silence Of The Lambs’. hero has to overcome, the better the character. We walked in strangers. We left as a team. That’s why I love female leads. LSF - What are the major challenges in adapting a The penny dropped as a LARGE crate of shattered book like ‘Silence Of The Lambs’ into a screenplay? glass spilled onto floor. Before we firewalked, we LSF - What mistakes do new screenwriters make? “Some of us came as were going to ‘glasswalk’!!! The major challenges were compression - it’s Ted - Ted - New screenwriters tend to overwrite, saying groups of friends, some He looked at me in sheer terror – should he stay or a long, densely written book with far too many good too much while implying too little, and try to “direct” should he run? scenes to include in a screenplay - and multiple the actors through elaborate stage directions and came alone knowing POVs, which I felt would dilute the movie’s power. I parentheticals. They also often lack a clear sense Welcome to Superhero Training Day for the LSF decided early on to focus on Clarice. of structure, the craft of building individual scenes, Volunteers. nobody in the country.. All acts and overall narratives in an effective way. LSF - Why do you think so many of us respond to stories that explore the dark side of human nature? Each year at the festival we are supported by an left knowing we could rely LSF - What advice would you offer a new extraordinary group of people, the volunteers. screenwriter? Ted - I think in part of our brains we’re all still on each other.” cavemen, with an instinctive fight or flight response. This year we wanted to give something back to the Ted - Follow your dream! We only get one life. But original volunteers, to acknowledge their excellence And the tidy, logical, satisfyingly concluded scares there are no shortcuts, and no guarantees. The Leilani Holmes over the years, and to elevate their possibilities we get from invented stories make a welcome relief pleasure of creating screen stories has to always be through a series of workshops and seminars, filled from the sloppier and darker terrors of real life. on some level its own reward. with lots of shouting, laughing, dancing and hugging How do you tackle dark subjects without and occasional tears. LSF - LSF - If you had to summarise the art and craft of descending into what is not referred to as ‘torture screenwriting into one sentence, what would that And for the new recruits who made up most of the porn’ or simply violence for violence sake? be? room, this was an initiation. Gratuitous violence coarsens storytelling and Ted - Ted - Show us, don’t tell us. desensitizes the audience, while turning off a large As a group we shared passions and fears and got portion of it. We need as writers to be hyper-aware to know each other very deeply. The courage and of this and not fall for cheap thrills. Less is more, vulnerability was profoundly moving and created and implication is better than direct visuals. an atmosphere where we could bond not just as a team, but as people too. It was a privilege to lead LSF - Clarice Starling is an iconic female character, the day, in of itself an opportunity for me to face my and I believe we are seeing the rise of the feminine own fears and raise MY game too. voice in all artforms. What do you find compelling about female characters and how better can we I believe that no matter how awesome any one of write them? us already is, there is always room for growth and improvement. Our aim as an organisation is to take Ted - Ginger Rogers, it has been famously excellence to even greater heights. said, had to do everything Fred Astaire did, but Walking across 750 degree coals – hot enough to

38 39 Fox, Sony, any Hollywood studio turning to a - great characters, great stories. Audiences and screenwriter and saying, “Not dark enough.” That’s producers don’t sit there parsing anything out not going to happen. except by what they feel when they read it or they see it. Does it hook their interest? Does it lock them The second thing you get in television is money. If into empathy with these characters? Does it move you think that a million dollars for a screenplay is a their emotions? Does it raise their curiosity? Do lot of money, you have no idea what real money is. they question how these characters’ lives will turn If you want to make real money, and I am talking out constantly in their mind, episode-by-episode, tens and hundreds of millions of dollars, create a scene-by-scene, and overall in the whole series? great video game or television series. When Larry There is no magic formula. There is nothing one David sold ‘Seinfeld’ into syndication, the team can point to that says, “If you do this and if you made $400 million dollars each, and that is not do that, then this is definitely going to get you counting the money made while the show was into production.” There is nothing you can point actually first time showing. That is real money. to other than saying it has to be great writing, wonderful characters, and a beautifully told story. The third thing you get is power. In film, the When you look at those series that are successful Robert McKee on Writing TV matters are highly politically correct. For example, directors run the show. In television, and again you see that is simply quality. Great examples are when film looks at poverty, what you get is the I am talking in the American system, the writers ‘Downton Abbey’, ‘The Vikings’, ‘Breaking Bad’, “picturesque poor.” run the show. If you are a hell of a writer, if you ‘Ray Donovan’, ‘Orange is the New Black’, ‘In LSF - Is TV the new feature film format? are a Matthew Weiner, or a Vince Gilligan, an Ann Treatment’, ‘The Sopranos’, ‘Boardwalk Empire’, If cinema really looked at poor people the way it did Biderman, a David Chase, or a Terrence Winter ‘The Good Wife’, ‘Justified’, ‘Six Feet Under’, McKee - TV is almost as different from film as the in ‘Slumdog Millionaire’, that would be really absurd. (among many more), and create a great series, ‘Louie’, ‘Game of Thrones’, ‘True Detective’, ‘House theater is from film, or a novel is from film. Story However, if you go over to television, that is where you then become a producer. In Hollywood you of Cards’, ‘The Wire’, ‘Curb Your Enthusiasm’, and being told on the big screen is inside of 3 hours, you get some bite. This is where politics are looked call this a hyphenate – it is somebody who is both on it goes. They are comedies and dramas, but in and a story being told on the television screen is at with sharp teeth. This is where the poor are not – a writer/producer. When you are watching an every way the writing is superb. All I can say is that up to 100 hours so the two are entirely different picturesque. Just go watch any episode of ‘Justified’ American television series and you see all of those you have to write really well. mediums. The most critical difference between and ask, “Is this a picturesque view of the poor?” opening credits - Executive Producer, Co-Producer, these mediums is the difference between live and It is not. What you get in television is immense Associate Producer – they are all writers. That is recorded – theater, television, film, and prose – LSF - In the UK we tend to write alone or in freedom. In television, they really don’t care whose the writing staff - that is the writer’s room. They are and length. Of all four media, television is by far partnership, whereas in the US writer’s rooms toes you step on. In fact, they kind of want you to all called producers now because they all own a the longest. A TV series like ‘Breaking Bad’ was are a commonplace. What are the advantages step on toes because it causes a lot of controversy, piece of the show. Why? Because they have proven almost 100 hours. In terms of volume, ‘Breaking and disadvantages of writing in the UK solo or whereas in film they go out of their way to avoid they can write and their agents have negotiated Bad’ would equal almost the entire works of Charles in a partnership of two? that controversy. In TV, you not only get freedom of them up to the producers position in the series, Dickens; it is not a different format, it is a different subject matter - and it can very dark, very violent, and now they are going to make real money. They McKee - The advantages and disadvantages medium. and very sexual or whatever - you also get freedom have power. They hire the directors or they direct depend on point of view. I can think of one of expression. In literature we have a principle themselves. Everybody is responsible to the show advantage on wanting to write a solo series. It is LSF - What can television offer screenwriters called “the unreliable narrator.” When you turned runner, to the creator. Why in the world would you not impossible to be the only writer. Michael Hirst, that feature films cannot? to an episode of ‘The Sopranos’ you couldn’t be write for the movies? If I were young, I wouldn’t put who is a wonderful writer, is working himself to certain that what you were looking at was real, was myself through that. I would try to create a great the bone writing THE VIKINGS on his own. ‘The McKee - In USA, talking from an American a dream, was a hallucination, or was a flashback. television series, become a show runner, author to Vikings’ is brilliant, really brilliant in every way – it prospective, the finest writers for film have been If it were a flashback, you couldn’t be certain that it give myself creative freedom, power and money, is beautifully directed, wonderfully acted, overall a migrating into television because of what television was something that actually happened. It could be beyond anything that movies can offer. As I have great production - it is a superb television series. can offer them, that film does not. First of all, film a faux flashback, the storytelling freedom that you been saying for years in my lecture, TV is the future But poor Michael Hirst is, as far as I know, the has become an incredibly conservative medium. have in television far exceeds that what you have in and I think anybody who is trying to make a living only writer for this series. Julian Fellowes was the This is as true in Europe as it is in Hollywood. It is film. as a writer today for the screen should seriously creator and writer of ‘Downton Abbey’ and then very conservative in terms of politics - if you want give consideration to write for TV first. Shelagh Stephenson and Tina Pepler have stepped a film that says anything serious about politics You have tremendous freedom – freedom of subject in and worked with him too, but by and large it is you have to watch a documentary. The political matter and freedom of expression in television Julian Fellowes’ child. So what is the advantage for correctness of the world has been limiting film LSF - What is the most compelling TV writing in because the networks only care about ratings. As those guys? Gratification. The advantage for the over and over again, into smaller and smaller recent years and why is it so compelling to both long as you can draw an audience, no matter what writer is that he is very gratified, to be able to step circles of what the proper subject matter for a the networks who optioned it and the viewers techniques of expression or subject matter, it seems back from all of those hours, all of those episodes film is. Generalizing, films are either becoming who loved it? to be irrelevant. In fact, I have a friend who writes and seasons and sit back and say, “I did that.” It is more fantasy and special effects-driven (in the for HBO and he tells me that when he goes in there McKee - That question answers itself. Why any a massive, cathedral-sized piece of work. That is United States) or more minimalist and decorative and pitches to HBO, the first note that he gets more writing has an audience and a production is great achievement for that individual writer. photography driven (in Europe) and the subject often than not is, “Not dark enough.” Now, imagine because it is compelling. It is simply good writing

40 41 Fox, Sony, any Hollywood studio turning to a - great characters, great stories. Audiences and screenwriter and saying, “Not dark enough.” That’s producers don’t sit there parsing anything out not going to happen. except by what they feel when they read it or they see it. Does it hook their interest? Does it lock them The second thing you get in television is money. If into empathy with these characters? Does it move you think that a million dollars for a screenplay is a their emotions? Does it raise their curiosity? Do lot of money, you have no idea what real money is. they question how these characters’ lives will turn If you want to make real money, and I am talking out constantly in their mind, episode-by-episode, tens and hundreds of millions of dollars, create a scene-by-scene, and overall in the whole series? great video game or television series. When Larry There is no magic formula. There is nothing one David sold ‘Seinfeld’ into syndication, the team can point to that says, “If you do this and if you made $400 million dollars each, and that is not do that, then this is definitely going to get you counting the money made while the show was into production.” There is nothing you can point actually first time showing. That is real money. to other than saying it has to be great writing, wonderful characters, and a beautifully told story. The third thing you get is power. In film, the When you look at those series that are successful Robert McKee on Writing TV matters are highly politically correct. For example, directors run the show. In television, and again you see that is simply quality. Great examples are when film looks at poverty, what you get is the I am talking in the American system, the writers ‘Downton Abbey’, ‘The Vikings’, ‘Breaking Bad’, “picturesque poor.” run the show. If you are a hell of a writer, if you ‘Ray Donovan’, ‘Orange is the New Black’, ‘In LSF - Is TV the new feature film format? are a Matthew Weiner, or a Vince Gilligan, an Ann Treatment’, ‘The Sopranos’, ‘Boardwalk Empire’, If cinema really looked at poor people the way it did Biderman, a David Chase, or a Terrence Winter ‘The Good Wife’, ‘Justified’, ‘Six Feet Under’, McKee - TV is almost as different from film as the in ‘Slumdog Millionaire’, that would be really absurd. (among many more), and create a great series, ‘Louie’, ‘Game of Thrones’, ‘True Detective’, ‘House theater is from film, or a novel is from film. Story However, if you go over to television, that is where you then become a producer. In Hollywood you of Cards’, ‘The Wire’, ‘Curb Your Enthusiasm’, and being told on the big screen is inside of 3 hours, you get some bite. This is where politics are looked call this a hyphenate – it is somebody who is both on it goes. They are comedies and dramas, but in and a story being told on the television screen is at with sharp teeth. This is where the poor are not – a writer/producer. When you are watching an every way the writing is superb. All I can say is that up to 100 hours so the two are entirely different picturesque. Just go watch any episode of ‘Justified’ American television series and you see all of those you have to write really well. mediums. The most critical difference between and ask, “Is this a picturesque view of the poor?” opening credits - Executive Producer, Co-Producer, these mediums is the difference between live and It is not. What you get in television is immense Associate Producer – they are all writers. That is recorded – theater, television, film, and prose – LSF - In the UK we tend to write alone or in freedom. In television, they really don’t care whose the writing staff - that is the writer’s room. They are and length. Of all four media, television is by far partnership, whereas in the US writer’s rooms toes you step on. In fact, they kind of want you to all called producers now because they all own a the longest. A TV series like ‘Breaking Bad’ was are a commonplace. What are the advantages step on toes because it causes a lot of controversy, piece of the show. Why? Because they have proven almost 100 hours. In terms of volume, ‘Breaking and disadvantages of writing in the UK solo or whereas in film they go out of their way to avoid they can write and their agents have negotiated Bad’ would equal almost the entire works of Charles in a partnership of two? that controversy. In TV, you not only get freedom of them up to the producers position in the series, Dickens; it is not a different format, it is a different subject matter - and it can very dark, very violent, and now they are going to make real money. They McKee - The advantages and disadvantages medium. and very sexual or whatever - you also get freedom have power. They hire the directors or they direct depend on point of view. I can think of one of expression. In literature we have a principle themselves. Everybody is responsible to the show advantage on wanting to write a solo series. It is LSF - What can television offer screenwriters called “the unreliable narrator.” When you turned runner, to the creator. Why in the world would you not impossible to be the only writer. Michael Hirst, that feature films cannot? to an episode of ‘The Sopranos’ you couldn’t be write for the movies? If I were young, I wouldn’t put who is a wonderful writer, is working himself to certain that what you were looking at was real, was myself through that. I would try to create a great the bone writing THE VIKINGS on his own. ‘The McKee - In USA, talking from an American a dream, was a hallucination, or was a flashback. television series, become a show runner, author to Vikings’ is brilliant, really brilliant in every way – it prospective, the finest writers for film have been If it were a flashback, you couldn’t be certain that it give myself creative freedom, power and money, is beautifully directed, wonderfully acted, overall a migrating into television because of what television was something that actually happened. It could be beyond anything that movies can offer. As I have great production - it is a superb television series. can offer them, that film does not. First of all, film a faux flashback, the storytelling freedom that you been saying for years in my lecture, TV is the future But poor Michael Hirst is, as far as I know, the has become an incredibly conservative medium. have in television far exceeds that what you have in and I think anybody who is trying to make a living only writer for this series. Julian Fellowes was the This is as true in Europe as it is in Hollywood. It is film. as a writer today for the screen should seriously creator and writer of ‘Downton Abbey’ and then very conservative in terms of politics - if you want give consideration to write for TV first. Shelagh Stephenson and Tina Pepler have stepped a film that says anything serious about politics You have tremendous freedom – freedom of subject in and worked with him too, but by and large it is you have to watch a documentary. The political matter and freedom of expression in television Julian Fellowes’ child. So what is the advantage for correctness of the world has been limiting film LSF - What is the most compelling TV writing in because the networks only care about ratings. As those guys? Gratification. The advantage for the over and over again, into smaller and smaller recent years and why is it so compelling to both long as you can draw an audience, no matter what writer is that he is very gratified, to be able to step circles of what the proper subject matter for a the networks who optioned it and the viewers techniques of expression or subject matter, it seems back from all of those hours, all of those episodes film is. Generalizing, films are either becoming who loved it? to be irrelevant. In fact, I have a friend who writes and seasons and sit back and say, “I did that.” It is more fantasy and special effects-driven (in the for HBO and he tells me that when he goes in there McKee - That question answers itself. Why any a massive, cathedral-sized piece of work. That is United States) or more minimalist and decorative and pitches to HBO, the first note that he gets more writing has an audience and a production is great achievement for that individual writer. photography driven (in Europe) and the subject often than not is, “Not dark enough.” Now, imagine because it is compelling. It is simply good writing

40 41 On the other hand, when it is only one writer or one season after season is on character development, pair of writers, no one or two people are going to either revelation of unseen dimensions and qualities be able to keep a series going to the volume that within the character or change – the character the world would like today. This is just a rule of is actually growing somehow or devolving, but thumb but the standard TV series in America now changing. Change and revelation fascinate the is the 100-hour series. 100 hours of quality writing audience. When the characters are exhausted, and is very likely to be beyond the scope of one mind. when there is no more change or revelation, when This is why in America we have writer’s rooms. You it becomes repetitious, that is when TV series die. have a lot of writers making contributions. How the For example ‘Dexter’– Dexter was fascinating for writer’s rooms are developed in terms of certain several seasons but then it ran out of development writers specializing in one character or another, of characters and it had nowhere else to go certain writers are there only to write gag lines with these characters so they began repeating for example. They divide the labor into whatever themselves. So again, the key is complexity of works. One writer, the show runner, runs them all. character. It is not as if it is chaos with 12 guys sitting around arguing all the time. There is a lot of arguing going LSF - What mistakes do you see in shows that on, but sooner or later everything they have done last just one season? has to go through the show runner and the creator. That creator is the quality control person to make McKee - It is similar to what is the key to great certain that the series stays at the level they’ve success? Great writing. What is the key to established. unsuccessful series? Bad writing. What do I see in these shows? They are badly written. The dialogue From the audiences’ point of view, there are no is on the nose, there is no subtext but full of clichés advantages but there are plenty of disadvantages. in plotting and characters, a lot of heavy handed For example, I lament that there are only two false mystery, all of the devices of bad writing. Register using the promo code London50 to receive £50 o of seasons of ‘Fawlty Towers’. I own them and I have your registration! seen them again and again. ‘Basil Fawlty’ and LSF - What advice do you offer a new writer the marvelous cast could have been in a hundred developing? episodes, of a fountain of hilarity, but John Cleese “Ultimate Master”-BBC insisted on writing it on his own or with one partner, McKee - As I said before, the key is cast design, a and at the end of twelve episodes he was either cast of characters in their setting, a great network of bored or ran out of ideas and quit. Some really contradiction and complexities, complex characters, “Presented with such urgency & power, Robert McKee teaches us about life, good comedy writers could have taken those and complex relationships - things you can parse characters and created one marvelous farce after out year after year to keep the audience involved. death, and the human heart...at his STORY seminar.”-The Independent another, that would have certainly pleased me. It The problem in television is not the storytelling first. is a disadvantage for the audience because one The storytelling will grow out of the nature of the writer insists on being an auteur, the series is cut characters and the complexity of their relationships. “We live in a GOLDEN AGE OF TELEVISION”-Robert McKee short as a result. The audience does not care who So, the first thing is to focus on cast design. By cast wrote it. All the audiences want is great characters design, I mean that the most complex characters and great storytelling. I think this is true in England, are at the center, and it radiates out to the mid If you dream of writing long form television, attend McKee’s London STORY too, but in America the show is the thing. What is players. Design a beautiful cast and then figure out important at the end of the day is the quality of the what could happen to these people and begin to tell Seminar, November 20-23. Television channels from Fox and CBS in the USA work - the show. I worked in theater for half my life a story. to BBC, ITV, and Channel 4 in the UK send their writing sta to McKee’s and in the theater the show is the thing. The same thing should apply in film, not the ego of the auteur Robert McKee will be appearing in London for renowned seminars. director. What is important is the work and the his legendary STORY Seminar on November 20 result. - 23 at Tuke Hall Regent’s College. He will also present his TV Drama Day (part of his GENRE McKee’s showrunning alumni have created and written one award-winning LSF - How do you sustain fascination and Seminar) in London in November 2015. Watch series after another: DOWNTON ABBEY, VIKINGS, GAME OF THRONES, engagement with characters over many seasons? out for the inauguration of STORY Magazine due out November 1st. HOUSE OF CARDS, FAWLTY TOWERS, BREAKING BAD, THE OFFICE (and more). McKee - The key is great character. When I do my Television Drama day, the great emphasis is on complexity of character and complexity of cast Join the writers of television’s brilliant future. design. What keeps the audience interested over Robert McKee, a BAFTA winner, has coached over 65 Academy Award Winners, 42 43 over 200 Emmy Award Winners and, to date, over 100,000 writers. On the other hand, when it is only one writer or one season after season is on character development, pair of writers, no one or two people are going to either revelation of unseen dimensions and qualities be able to keep a series going to the volume that within the character or change – the character the world would like today. This is just a rule of is actually growing somehow or devolving, but thumb but the standard TV series in America now changing. Change and revelation fascinate the is the 100-hour series. 100 hours of quality writing audience. When the characters are exhausted, and is very likely to be beyond the scope of one mind. when there is no more change or revelation, when This is why in America we have writer’s rooms. You it becomes repetitious, that is when TV series die. have a lot of writers making contributions. How the For example ‘Dexter’– Dexter was fascinating for writer’s rooms are developed in terms of certain several seasons but then it ran out of development writers specializing in one character or another, of characters and it had nowhere else to go certain writers are there only to write gag lines with these characters so they began repeating for example. They divide the labor into whatever themselves. So again, the key is complexity of works. One writer, the show runner, runs them all. character. It is not as if it is chaos with 12 guys sitting around arguing all the time. There is a lot of arguing going LSF - What mistakes do you see in shows that on, but sooner or later everything they have done last just one season? has to go through the show runner and the creator. That creator is the quality control person to make McKee - It is similar to what is the key to great certain that the series stays at the level they’ve success? Great writing. What is the key to established. unsuccessful series? Bad writing. What do I see in these shows? They are badly written. The dialogue From the audiences’ point of view, there are no is on the nose, there is no subtext but full of clichés advantages but there are plenty of disadvantages. in plotting and characters, a lot of heavy handed For example, I lament that there are only two false mystery, all of the devices of bad writing. Register using the promo code London50 to receive £50 o of seasons of ‘Fawlty Towers’. I own them and I have your registration! seen them again and again. ‘Basil Fawlty’ and LSF - What advice do you offer a new writer the marvelous cast could have been in a hundred developing? episodes, of a fountain of hilarity, but John Cleese “Ultimate Master”-BBC insisted on writing it on his own or with one partner, McKee - As I said before, the key is cast design, a and at the end of twelve episodes he was either cast of characters in their setting, a great network of bored or ran out of ideas and quit. Some really contradiction and complexities, complex characters, “Presented with such urgency & power, Robert McKee teaches us about life, good comedy writers could have taken those and complex relationships - things you can parse characters and created one marvelous farce after out year after year to keep the audience involved. death, and the human heart...at his STORY seminar.”-The Independent another, that would have certainly pleased me. It The problem in television is not the storytelling first. is a disadvantage for the audience because one The storytelling will grow out of the nature of the writer insists on being an auteur, the series is cut characters and the complexity of their relationships. “We live in a GOLDEN AGE OF TELEVISION”-Robert McKee short as a result. The audience does not care who So, the first thing is to focus on cast design. By cast wrote it. All the audiences want is great characters design, I mean that the most complex characters and great storytelling. I think this is true in England, are at the center, and it radiates out to the mid If you dream of writing long form television, attend McKee’s London STORY too, but in America the show is the thing. What is players. Design a beautiful cast and then figure out important at the end of the day is the quality of the what could happen to these people and begin to tell Seminar, November 20-23. Television channels from Fox and CBS in the USA work - the show. I worked in theater for half my life a story. to BBC, ITV, and Channel 4 in the UK send their writing sta to McKee’s and in the theater the show is the thing. The same thing should apply in film, not the ego of the auteur Robert McKee will be appearing in London for renowned seminars. director. What is important is the work and the his legendary STORY Seminar on November 20 result. - 23 at Tuke Hall Regent’s College. He will also present his TV Drama Day (part of his GENRE McKee’s showrunning alumni have created and written one award-winning LSF - How do you sustain fascination and Seminar) in London in November 2015. Watch series after another: DOWNTON ABBEY, VIKINGS, GAME OF THRONES, engagement with characters over many seasons? out for the inauguration of STORY Magazine due out November 1st. HOUSE OF CARDS, FAWLTY TOWERS, BREAKING BAD, THE OFFICE (and more). McKee - The key is great character. When I do my Television Drama day, the great emphasis is on complexity of character and complexity of cast Join the writers of television’s brilliant future. design. What keeps the audience interested over Robert McKee, a BAFTA winner, has coached over 65 Academy Award Winners, 42 43 over 200 Emmy Award Winners and, to date, over 100,000 writers. The inaugural British Get Involved in the next Screenwriters’ Awards Create50 Project It’s about time someone put the originators and architects of great storytelling front and centre. In the summer of 2012 the London And we are rising to that challenge. Screenwriters Festival issued a challenge – write a killer 2 page script and send it to This year at the London Screenwriters’ Festival we us. We would then select the best 50 scripts and release them online so filmmakers can honouring outstanding writing from newcomers produce them. From the resulting films we would then edit a feature film. The thread that television. Hosted by screenwriter, writer and tied everything together? A kiss, and the date… comedian Rhona Cameron, you can be sure it will Valentines. Hence ’50 Kisses’ be a star studded night to remember.

Out of 1870 script submissions and 127 completed films, the result is ‘50 Kisses’, a ground breaking The Nominations Are feature film showcasing the combined talents of Best British TV Drama Writing hundreds of new creative voices from around the Outstanding Newcomer for British Television 2014 the team found out that the film had won a ‘The Honourable Woman’ by Hugo Blick (BBC2) world. Irreverent, charming, ridiculous, moving and Writing Guinness World Record for the “Most Screenwriters ‘Happy Valley’ by Sally Wainwright (BBC1) at times wonderfully profound, ‘50 Kisses’ features ‘Murdered By My Boyfriend’ by Regina Moriarty on a feature film”. The film we be released online ‘Sherlock’ by Stephen Moffatt and Mark Gatiss everything from love struck zombies, androids and (BBC3) this Winter. (BBC1) teddy bears to… fatigue fighting lesbians! ‘Raised By Wolves’ by Caitlin Moran and Caroline ‘Utopia’ by Dennis Kelly (Channel 4) Moran (Channel 4) And we are doing it again. Same concept, The whole 50 Kisses project played out online and ‘In the Flesh’ by Dominic Mitchell, John Jackson but a whole new theme. The new Create50 will Best British Feature Film Writing we’re keeping it live as a “writing and filmmaking and Fintan Ryan (BBC3) be announced at the Festival and we want to lab” so the entire community can see and learn ‘My Mad Fat Diary’ by Tom Bidwell, Rae Earl and encourage EVEREYONE to get involved. Write a ‘Philomena’ by Jeff Pope and Steve Coogan from the collaboration, encouragement and Laura Neal (Channel 4) two page script for us and you could end up with ‘Locke’ by Steven Knight development the scripts and the films went through it being produced, released in cinemas and even ‘The Double’ by Richard Ayaode and Avi Korine before they made it into the feature. Check it out at Outstanding Newcomer for British Feature Film snaffling a new world record! www.50KissesFilm.com Writing ‘Saving Mr Banks’ by Kelly Marcel and Sue Smith Check in at www.Create50.com and sign up to ‘50 Kisses’ premiered in London on 13th February ‘The Riot Club’ by Laura Wade get updates about the launch and theme. 2014 and ended up as the second highest grossing ‘Starred Up’ by Jonathan Asser British film of the week. It has since become the ‘Pride’ by Stephen Beresford project that just keeps giving, and in summer

44 45 The inaugural British Get Involved in the next Screenwriters’ Awards Create50 Project It’s about time someone put the originators and architects of great storytelling front and centre. In the summer of 2012 the London And we are rising to that challenge. Screenwriters Festival issued a challenge – write a killer 2 page script and send it to This year at the London Screenwriters’ Festival we us. We would then select the best 50 scripts and release them online so filmmakers can honouring outstanding writing from newcomers produce them. From the resulting films we would then edit a feature film. The thread that television. Hosted by screenwriter, writer and tied everything together? A kiss, and the date… comedian Rhona Cameron, you can be sure it will Valentines. Hence ’50 Kisses’ be a star studded night to remember.

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Regent’s University and the School of Drama, Film and Media have played host to the festival since inception in 2010. www.regents.ac.uk We're ﬂying three lucky screenwriters to Los Angeles for a week of meetings and introductions to agents, Robert McKee appears in London annually for his legendary managers and producers. STORY Seminar as well as his TV Drama Day (part of his GENRE Seminar). Applications due by Dec. 15th at ScreenCraft.org www.mckeestory.com or email us: [email protected]

The M.A. in Serial Storytelling at IFS is the first master’s program in Germany to focus exclusively on writing for TV series and other serial formats. www.filmschule.de

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

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